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THE WILEY TECHNICAL SERIES 

FOR 

VOCATIONAL AND INDUSTRIAL SCHOOLS 

EDITED BY 

J. M. JAMESON 

GIRAKD COLLEGE 



THE W ILEY TECHNICAL SERIES 

EDITED BY 

JOSEPH M. JAMESON 

GiRARD College 



TEXTBOOKS IN DRAFTING AND DESIGN 



Decorative Design. A Textbook of Practical Methods. By Joseph Cummings 

CiL\sE, Instructor in Decorative Design at the College of the City of New York 

anil at the Woman's Art School, Cooper Union. vi-|-73 pages, 8 by lOj, 340 

figures. Cloth, $1 .50 net. 
Agricultural Drafting. By Charles B. Howe, M.E. S by loj. viii+63 pages, 

45 figures. -0 plates. Cloth, Si.-\t net. 
Agricultural Drafting Problems. A Manual to Supplement the te.Nt in .\gri- 

cultural Drafting. By Charles B. Howe, M.E. 26 plates, 8 by loJ. In ])apcr 

cover, 50 cents net. 
Architectural Drafting. By A. B. Greenberg, Stuyv.^sant Technical High 

School. Niw York; and Charles B. Howe, Bushwick Evening High School, 

Brooklyn, viii+iio pag-S, 8 by 10.1, 53 figures, 12 plates. Clolh, $1.50 net. 
1 he Orders of Architecture. A Manual to Supplement the te.xt in Architectural 

Drafting. By A. Benton Greenberg 20 plates, 8 by loj. In paper cover, 

50 cents net. 
Mechanical Drafting. By Charles B Howe, M.E., Bushwick Evening High 

School. lirook yii. x+147 pages, 8X lo^- 105 figures, 38 plates. Cloth, $1.75 net. 
Drawing for Builders. By R. Burdette Dale, Formerly Director of Vocational 

Courses, Iowa State College. V+1O6 pages, 8 by loj, 69 figures, 50 plates. 

Cloth, Si. 50 net. 
Sheet Metal Work. By Charles B. Howe, M.E., and Warre.n P. Doing. 

{In Press, Ready Fall, igiS.) 
Costume Design and Illustration. By Ethel H. Traph.^gen, Instructor and 

Lecturer at Cooper Union, etc. ix+145 pages, 8 by lOj. Upwards of 200 

illustrations, including several in color, and a Color Spectrum Chart. (;loth, 

$2. 50 net. 

IN PREPARATION 

Engineering Drafting. By Charles B. H jwe. M.E., Bushwick Evening High 
School, Brooklyn; and S.\muel J. Berard, Sheffield Scientific School, Yale 
University. 

For full aiinounccmenl sec list futUnoing index. 




/ 



TTX 



y: 



Drawing by Drian 



Frontispiece 



J 



Cuttrftsy of IJari>cr's Bazar 



COSTUME DESIGN 
AND ILLUSTRATION 



ETHEL TRAPHACxEN 

Instructor and Lecturer at Cooper Union, The \ew 
York Evening School of Industrial Art, and Brooklyn 
Teachers' Association Classes; formerly on the staff 
of Dress Magazine and The Ladies' Home Journal 



FIRST EDITION 



New York 1918 

JOHN WILEY & SONS, Inc. 

CHAP MAN&H ALL, Limited London 






Copyright, 1918, by 
ETHEL TRAPHAGEN 



■JUN 18 1918 



BBACNWOHTH & CO. 
PIUNTERS AND BflOEBlNDEBa 
BBOOKLTN, N. T. 



L' 



0CI.A4y!KJ?l 



y 



THIS BOOK IS SINCERELY DEDI- 
CATED TO iMY STUDENTS, WHOSE 
ENTHUSIASM AND SUCCESS HAVE BEEN 
ITS INCENTRE AND INSPIRATION 



THE PREFACE 

Costume Design and Costume Illttstration are not always looked 
upon as distinctly different branches of what is termed fasliion work, 
but in truth there is a marked difference between them. 

In the former, one must consider the judging of color, and all that this 
includes by way of harmonics, contrasts, areas, etc.; the relation of spaces; 
I)roper proportions; and the beauty and effect of line, l)alance and scale 
arrangements for the production of a ilesign that is dignified, fanciful, 
frivolous, dainty, formal, or subtle, to express the designer's conception 
of the purpose of the costume and its suitability to the wearer. 

The costume illustrator, on the other hand, has the privilege of 
representing the garment after it has been designed — he must be able 
to render the material with his pen, pencil or brush in such a way 
that the actual design is not robl)ed of any of its charm. Of course, 
there are numy ways of doing tin's, according to the teclmi(iue and 
sensitiveness or temperament of the artist, as well as the different 
methods customary for the sjjccial use for which the design is intended. 
It can easily be seen how advantageous it is to any fashion artist, 
whether designer or illustrator, to have an imderstanding of both branches 
to get the best out of either, for they have much in common. 

The designer and the illustrator should both have a knowledge and a keen 
appreciation of the beautiful lines of the human form, to know what 
lines are important to emphasize and what to conceal in a figure which 
may not be perfect. Drawing from the nude is of great advantage to 
the student, and no serious costume illustrator should be without this 
valuable training. 

There are some books which may help the ambitious student in the life 
class to observe and impress on the mind fundamental facts which it is 
believed most life-class teachers will agree in thinking extremely useful. 
Among these are Dunlop's Anatomical Diagrams, Figure Drawing by 
Hatton, Anatomy in Art by J. S. Hartley, Richter, Marshall or Duval, and 
Drawing the Human Figure by J. H. Vanderpoel. If the student is studying 
without an instructor, Practical Drawing, by Lutz, will be found helpful. 

Ethel H. Traphagen. 

New York, 1918. 



THE CONTENTS 

CHAPTER PAGE 

I. Sketching 1 

II. Drawing without Models .... 13 

III. Methods 27 

IV. Color .' . . 63 

V. Design 75 

VI. The Fashion Silhouette 83 

VII. Period Fabric Design 91 

VIII. Outline of Historic Costume ... 99 

IX. Bibliography 127 

X. Artists whose Work Has Bearing 

ON Period Fabrics or Costume . . . 131 

XI. Index 137 



SKETCHING 

CHAPTER ONE 



COSTUME DESIGN AND ILLUSTRATION 

CHAPTER ONE SKETCHING 

1. Forms. — In both lines of fashion farthest point out of the other oval, to 

work it is necessary to be able to con- represent the skirt. Connect these and 

struct quickly a form on which to sketch you have a form. See Fig. 1. The bust 

or design a dress, and, like the forms in and hip should be on a line, and for the 



ffffheit 





Fig. 1. — First steps in constructing a dress form. 



store windows, this should be constructed 
to enhance the good lines of the garment. 
Care must be taken, however, never to 
confuse this with the liuman figure, the 
structure of which is entirely different. 

The simplest way of obtaining this 
form is by drawing two ovals. First, 
make a straight line for the shoulders, 
then swing an oval, somewhat foreshort- 
ened, from the shoulder line, to repre- 
sent the waist. Next, swing another 
more elongated oval, from near the end- 
ing points of the first oval, having the 
farthest part out always opposite the 



present-day silhouette the connecting lines 
should be but slightly curved. 

Next, extend the two lines for the 
sleeves, add the collar and put in the 
centre line, which, in the front, follows 
the outside line of the waist and goes 
straight in the skirt. See Fig. !2. (Of 
course, the proportions differ according 
to fashion; i.e., the normal waist would 
go but twice into the short skirt of the 
summer of 1916.) It is interesting to 
note how the reverse of this straight line 
and curve forms the back. In making the 
back, connect the ovals in the same man- 



Page Two 



SKETCHING 



ner, but note that the centre hne goes 
straight in the waist and curves in the 
skirt. See Fig. 3. 

The waist and collar lines curve up. 
The normal waist goes into the skirt about 



the straight full front view, because of 
the advantage of showing the side of the 
dress as well as the front. An examina- 
tion of fashion publications will prove 
how general is this preference. 






Fig. 2. 



Fig. 3. 



two and a half times, and the sleeves 
bend at the waist line or a little above. 
The supporting points at the shoulder, 
elbow, and hips should be marked, for 
it is these points thiit most affect the 
drapery. 

With a little application, these forms 
may soon be mastered, and the practice 
of doing them rapidly and turning them 
both ways makes for proficiency. See 
Fig. 4. Observe that three-quarter front 
and back views are used in preference to 




Fig. 4. 

2. Summary. — The main points to be 
remembered are that the bust and hips, 
for the present silhouette, should be on a 
line, that the arms bend at the waist line 
or a little above, and that the normal 
waist goes into the instep length skirt 
about two and a half times. 

In the front view remember that the 
centre line follows the outside line in 
the waist and goes straight in the skirt, 
that in the back the centre line goes 
straight in the waist and curves in the 



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SKETCHING A GARMENT 

skirt. (The centre line is the centre of 
the actual figure, not of the sketch.) 

The collar and waist lines curve up in 
the back and down in the front. The 
bottom of the skirt describes a circle; 
therefore, like the 
waist and collar, 
the line curves, but 
always downward. 
The shoulder lines 
should be made to 
slant as much as 
the silhouette re- 
quires. 

For this work 
use an H.B. pencil, 
Eberhard Faber, 
Ruby or Emerald 
eraser, and emery 
board pad. The 
point of the pencil 
should be kept 
very sharp by con- 
tinually pointing it 
on the pad. From 
the start great at- 
tention should be 
paid to a clean-cut 
and beautiful line 
and to the proper 
placement of the 
sketch on the 
paper. See under " Greek Law," page 27. 

3. Sketching a Garment. — After the 
form is mastered up to this jjoint, the 
next step is the sketching of a garment 
on the foundation drawn. If possible, have 
as a model a simple dress or suit on a 
coat-hanger, or preferably a dressmaker's 
form; then find the centre line of the 
garment and see that, in sketching it 
on the oval form first constructed, you 



.J. 

I 






^ 






Fig. 5. — Pencil sketch of a suit. 



Page Three 



have the centre line of your sketch cor- 
respond with the centre line of the gar- 
ment. You will find the })roper observa- 
tion of the centre line an infallible guide 
in giving you the proper relation of the 

■sketch to the gar- 
ment. 

Next observe 
the large, impor- 
tant facts — such as 
length of sleeves, 
length of coat, the 
long, important 
lines— and be par- 
ticular to put in 
the seams; but 
leave details such 
as embroidery, 
lace, tucks, plaits, 
gathers, etc., until 
the last. See Figs. 
5, 0, and 7. 

After the lengths 
of the sleeves, 
waist, coat, etc., 
are determined, 
you must strive for 
skill in keeping 
your pencil line 
clean and sharp. 
This gives the 
much-desired, well 
pressed newness to the garment. To 
keep this effect, beware of too rounded 
curves. After the sketch is finished, 
some accents should be put in, in 
places where shadows would naturally be; 
this gives added interest to sketches. 
From the first, observe and work for 
texture. Notice how delicate, light lines 
express thin material better than heavy, 
hard ones. After ability of this kind is 









/ 



Page Four" 



SKETCHING 



(MuJ — a ^' 






acquired, the next step is to work for 
speed. Garments in shop windows give 
excellent opportunity for sketching when 
the student is trying to acquire speed. 

4. Sketching from Memory. — Training 
the memory in 

sketching is also 
most important. A 
good way to do 
this is to sketch 
from memory 
what has been 
drawn from the 
garment the day 
before. Another 
good way is to 
observe a dress 
either in a shop 
window or on a 
person, and then, 
without again 
looking to aid the 
memory, to try to 
put on paper all 
you remember. It 
is well to verify 
this sketch by 
comparing it with 
the garment, to 
find out how much 
you have forgotten 
and where you 
have made mis- 
takes. To be able 
to sketch from memory is a truly valu- 
able asset in costume work. So much 
can be carried away in one's mind from 
"Openings" and places where sketching 
is not possible. 

5. Sketching from Garments. — A knowl- 
edge of the proper way to sketch gar- 
ments such as gowns, hats, and acces- 



w ' 



sories, is absolutely necessary in fashion 
work. It is helpful, first for your own 
convenience when you see things you 
wish to remember, or when you wish to 
explain things seen to some one else, next, 

in gathering ideas 
to adapt to your 
own designs, and 
again, in doing 
sketching for news- 
papers or maga- 
zines. Designers 
for manufacturers 
find it a great 
boon to be able to 
sketch in their ex- 
ploring trips in the 
shops and along 
Fifth Avenue. 

Sketching for 
manufacturers is 
done for two pur- 
poses: To give 
Ihem the latest 
French models 
from the "Open- 
ings" from which 
to make exact 




X 




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I 



Fig. 6. — Preliminary pencil sketch of a gown. 



copies or some- 
thing adapted to 
their special trade 
_^ needs, and to give 
them an inventory 
of their own stock 
for their reference and convenience. 

Sketching for dressmakers is a little 
line of fashion all its own. The sketches 
for them must be daintily finished, as 
they are to be shown to the customer 
and play an important part in the sale 
of the gown represented. The simple 
ones (see Fig. (3) are done in pencil, with- 



SKETCHING FROM GARMENTS 



Page five 




Fig. 7.— Illustrating a variety of details 

out heads, but with a stylish foundation but as a rule the more finished dress- 
form under- 
neath, with 
sometimes a 
little color 
added in the 
background to 
throw the 
sketch out. 
Sometimes they 
are still more 
finished though 
without heads, Fig. 8. 




makers' sketches 
are done on 
figures express- 
ing some action 
and illu.strating 
the presumed 
effect of the 
gown on the 
w e a r c r . See 
Figs. 13 and 14. 
When sketch- 
es are being 



Page Six 



SKETCHING 



done for embroideries, an additional small 
detail drawing should be made of the 
embroidery at the side of the paper. Tex- 
tures and colors should always be noted 
on the sketch as well as details, such 
as the number of buttons, 
etc , in order that there 
may be no confusion when 
making the finished sketch 
at home or in your studio. 
A convenient size for 
rough sketches is six and 
one-half inches. Practical 
sizes for finished dress- 
makers' sketches are from 
ten to twelve inches when 
heads are included; with- 
out heads, six and one- 
half or seven inches. 
Wide margins lend dis- 
tinction. 

Some of the well known 
French designers are Paul 
Poiret, Cheruet, Beer, 
Callot Soeurs, Paquin, 
Martial and Armand, 
Francis and Drecoll. Al- 
ways note the designer's 
name on your sketch as 
well as the texture, color, 
and detail. The name of 
the design always en- 
hances the value of a 
sketch. Always place 
these sketches on the 
paper according to the Greek Law, i.e., 
most margin at the bottom of the paper. 

When making a finished sketch of this 
kind, a pretty pose should be chosta, 
and this should be thought out* and 
practically finished in pencil; then draw 
in the garment carefully before putting 





Fig. 9. 



on the color. The usual method is to put 
in the shadows first, the light big washes 
next, and the detail last. Clear color is 
used as a rule but opaque or tempera is 
often used in small areas combined with 
the clear color sketch; 
sometimes opaque paints 
are substituted. (See Page 
9 and description under 
Color, page G8.) Pen-and- 
ink outlines are often used 
for these sketches and kid 
bristol or illustration board 
is considered the best kind 
of paper. 

6. Hats.— Much of what 
has just been stated ap- 
plies also in sketching 
hats. Care should be 
taken to express the most 
characteristic side of the 
hat; in other words, catch 
its "feature." Be careful 
not to lose the relation 
of the crown of the hat 
to the head. When pos- 
sible, it is best to have 
some one pose for you to 
insure the right angles. 
See Fig. 12. 

Before going into this 
further, consult Section 
15, page 17. 

Theatrical designs and 
sketches are carried out in 
the manner of the other sketches of 
hats and dresses, but a greater liberty 
in the way of eccentricity and exaggera- 
tion is permitted. See Fig. 9. 

7. Accessories. — In connection with 
sketching, the student would do well to 
pay attention to accessories such as col- 



^S0 



By William Gebhardt 
Theatrical design. 



SKETCHING FROM LIFE 



Page Seven 



lars, sleeves and 
shoes. It tends to 
much greater facility 
on the part of the 
student to arrange 
these according to 
the Greek Law of 
proportion, page 
27. For sugges- 
tions see Fig. 11 
on this page. 

8. Sketching from 
Life. — Sketch ing 
from life is slrongI\' 
advised; drawing 
from the nude is of 
great advantage 
when done with un- 
derstanding. In all 
sketching and draw- 
ing it is advisable to 
block in, or in other 
words, sketch witli 
light lines the general 
proportions, using 
tentative or trial 
lines and "feeling 
for" the form. See 
Figs. 15, 16, 18, and 
19. 

Never complete 
one part before 
another part is 
thought out; never 
fix your attention 
on the outline, but 
rather on general 
proportion, or the 
residt will be un- 
happy. See Fig. 17. 
Decide where your 
drawing is to begin 




Courtesy of Gerhard Mcnnen Co 

Fig. 10. — Crayon drawing. 




Fig. 11. — Shoes drawn by Elf rida Johnson. 



on the paper, and 
where it is to end, 
leaving good mar- 
gins (more at the 
bottom than top), 
and block in between 
these spaces. After- 
wards makesketches 
Ironi memory of the 
pose you have been 
^ludyhig. 

When doing rapid 
sketching to catch 
the action of a figure 
in motion, indicate 
the position of the 
head, hands, and feet 
and fill in the rest. 
Excellent practice is 
obtained in doing 
five, seven, ten, and 
fifteen minute poses 
from the nude or 
draped model. 
These quick sketches 
often afford good 
action poses that can 
be carried out and 
used to great advan- 
tage. See Figs. 40 and 
41. This sketching 
will be most helpful 
in assisting the stu- 
dent to obtain a pro- 
fessional touch and 
an individual stj-lc. 

More and more 
stress is being laid 
on the well-drawn 
figure underlying the 
fashion drawing and 
too much emphasis 



Page Eight 



SKETCHING 



cannot be put on the value of drawing "When drawing from life, it is a good 
this figure with understanding and appre- plan to put yourself in the same pose as 
ciation. Great care should be given the the model; that is, nnitate as well as 



study of hands 
and feet, as these 
play an impor- 
tant and telling 
part in fashion 
work. See Front- 
ispiece and Figs. 
10, 27, and 28. 

The student is 
advised to make 
copies, by way of 
study, from the 
hands in Vander- 
poeVsIIuDian Fig- 
ure and then to 
make studies 
from life. It is 
important in this 
work to observe 
from which side 
the light is com- 
ing. (See Figs. 
28 and 29.) 

It is practical 
to make the life 
studies in a loose, 
artistic manner, 
in charcoal, chalk, 
etc., and after- 
wards to draw 
from this sketch 
another figure, 
copying the pose 
and keeping the 
action, but refin- 
ing it slightly, to make an attractive fashion falling shoulder 




Fig. n. 



CaurUsy of N . Y. (ilobc 
An example of hat illustralion. 



you can, the ac- 
tion, the disposi- 
tion of the limbs, 
and the pose of 
the head. This 
mimicry — it will 
only be that some- 
times, as you will 
find that different 
persons have dif- 
ferent ways of 
carrying them- 
selves, and you 
can perhaps only 
approximate the 
po.se of the model 
— will give you a 
better understand- 
ing of the pose 
and impress itself 
on you mentally 
and further the 
work of pictur- 
ing it. 

"Note how, 
when the hips 
slant one way, 
the shoulders, to 
counterbalance, 
incline the other 
way ; and the head 
again to preserve 
the balance, tilts 
away from the 
This applies to the 



drawing on which to i)ut the dress from greater part of poses. Sometimes, though, 

one's costume sketch. See Figs. 40 and 41. models deviate from the general." This 

Lutz, in his book entitled Practical is valuable advice to observe in your 

Drawing, wisely says: work. 



SKETCHING FROM LIFE 



Page Nine 



Figs. 13 and 14 show two Ireatineuts of 
the same kind of sketch. Fig. 13 is done 
in a reahstic \\'ay, in Fig. 14 the conven- 
tional method is used. In Fig. 13 hght 



in clear water color. The tempera paint 
is put on in one flat tone and allowed to 
dry; the other colors are then put on over 
this The opaque paint has the advantage 




Fig. 13. — Complete dressmaker's sketch done in trans- 
parent water color. 

and shade have been considered while in 
Fig. 14 these have been eliminated. 

Fig. 13 has been done in transparent 
water color, Fig. 14 is done in tempera, 
an opaque or body color, except the chif- 
fon, flesh tones, and hair, which are done 
* With flat transparent waslies, pencil lines often 




Courtesy of Henry Block. 
Fig. H. — A dressmaker's or manufacturer's sketch 
in tempera colors. 

of being able to be worked over. It is l)est 
to avoid shading, and to keep to flat tones. 
In this .sketch the folds are indicated with 
strong pencil lines; this same line effect can 
be done with lighter or darker values of 
the tempera u.sed for the garment.* 

are used most effectively in makinj^ a colored sketch. 



Page Ten 



SKETCHING 



;; 




>v 



V 



Fig. 15. 

Tlu" illustrations on 
this page show one of 
the most important 
things to be considered 
in all kinds of draw- 
ing, whether it be from 
life, from memory, 
chicing, or even copy- 
ing, and that is get- 
ting the general pro- 
portion and action of 
the whole, before con- 



Cotirtcsv of the Prang Co. 
First .stage of sketch of dog. 



Courusn of ifie Prang Co. 
Fig 17. — Incorrect way to start a sketch. 



Courtesy o/ the Prang Co, 
Fig. 16. — Second stage of sketch of dog. 

centrating on any 
one part in detail ; re- 
membering never to 
finish one jiart before 
the other parts are 
thought out. Fig. 17 
shows the danger of 
fixing your attention 
on the outline. It is 
always advisable to 
block in. (See Figs. 
15 and 18.) 




A^ \ 




Cuurtisi/ of ihc Prang Co. 
Fig. 18.— First stage of sketch of boy. 



Courtesy of the I'Tdng Co. 

Fig. 19. — Sketch of boy completed. 



DRAWING WITHOUT MODELS 

C H A P T E 11 T W O 



CHAPTER TWO 



DRAWING AVITIIOUT IMODELS 



9. To Set Up a Well-proportioned Fig- 
ure. — It is best to understantl how to set 
up a well-proportioned nude figure "out 
of one's head" or chicing a figure as it is 
sometimes called. See Fig. '•21. To con- 
struct this figure find the centre of the 
paper, through whicli run a \'ertical line. 
The head is the unit most useful iu meas- 



using one inch as the unit of measure. 
This gives the height of the figure. Mark 
each of these divisions with a dot. The 
figure is divided into four important sec- 
tions; the head, torso, arms, and legs. 
To keep the drawing as simple as possible 
we will have to start, in some detail, U ^ c 
with the head, it being our unit of measure. / , 




Draim hi/ Reta SengeT. CouTtcsy of Good Housckuplng, 

Fifi. 20. — Editorial featuring infants' wear. 



uring the human figure, and in this 
instance, we will use it, making it, for 
convenience' sake, one inch long. (The 
dimensions we are using will vary slightly 
from those given in most anatomies, be- 
cause we are constructing a figure to 
use in fashion work, where slimness is 
the chief requirement.) jNIark oil' on this 
line seven and one-half heads, in this 
case seven and one-half inches, as we are 



To construct the oval which will be 
used for the head, mark off the first inch 
and divide this one inch vertical line into 
three equal parts. At a point just a 
little below the first third just established, 
draw a light horizontal line of indefinite 
length and mark off on it a distance 
equal to a little less than two-thirds of 
the one-inch vertical line and so spaced 
that the vertical line exactiv i)isects the 



Page Fourteen 



DRA^\^NG WITHOUT ISIODELS 



horizontal line. Construct an oval on this 
plan. 

Horizontal line; drawn through the 
points that divide the vertical line into 
thirds give the eyebrows and the tip of 
the nose. A horizontal line drawn through 
a point one-third of the distance between 
the eyebrows and the tip of the nose 
marks the centre of the eye socket, and a 
horizontal line drawn through a point 
one-third of the distance between the tip 
of the nose and the base of the oval 
marks the centre of the mouth. 

Divide the horizontal ej'e structure line 
into five parts; the middle space represents 
the width of the nose, and the nearest 
parts on each sitle the eyes. Guide lines 
dropped from the centre of the eyes, ver- 
tically, give the corners of the mouth. 
For the ears extend a line a little beyond 
the oval on each side of the head, from 
the first third to the second third, or, in 
other words, from the line indicating the 
eyebrow to the line indicating the end of 
the nose. 

Continue the bisecting vertical line 
down one-third of its-length, to establish 
the pit of the neck. Draw a horizontal 
line through this point. Drop guide lines 
from the base of the ear to this line. 
Connect the extremities of these guide lines 
with arcs curving slightly towards each 
other, thus giving proper expression to 
the neck. 

10. The Torso. — Three-quarters of the 
length of the head gives the width of each 
shoulder and of each hip. Cut the dis- 
tance between the chin and the pit of the 
neck in half by a dot placed on the centre 
line. Connect this point witli the point 
made in marking the width of the 
shoulders. The point where this line 



intersects the curved line of the neck is 
where the neck sets on the shoulders. 

The second "head" or unit of measure 
gives the bust line. Curve the line in- 
dicating the bust section. 

The third "head" gives the placing of 
the abdomen. 

One-half the distance between the bust 
and abdomen, or between the second and 
third head, is the waist line. Indicate 
this. The centre of the figure comes 
slightly above the fourth head, this is 
also the end of the torso. The line of the 
hip is halfway between the third and 
fourth head. Establish the width of the 
hip line by verticals from the shoulders. 

11. The Legs. The knees come half- 
way between the hips and the soles of 
of the feet. The ankles come at the 
seventh head. The width of the ankle 
is one-third the width of the hip line. 
The insitle ankle is high, the outside ankle 
low. The calf of the leg is about one-half 
thf^ width of the hip, the outside calf 
of the leg is higher than the inside calf. 

12. The Arms. — The length of the arms, 
stretched out horizontally including the 
shoulders and the hands, equals the length 
of the body. The wrist comes at about 
the end of the torso. The elbow comes 
at the waist lines. The pit of the arm is 
one third each shoulder. With these meas- 
urements established, block in the figure 
and features. 

13. Other Positions of Head and 
Figure. — The diagram of a woman's fig- 
ure on page 11 of Dunlop's Anatomical 
Diagrams will be found helpful to the 
student, at first, in blocking in the figure. 

After the proportions are well under- 
stood, the figure and head may be turned 
in other positions; for this the "tooth- 



THE FIGURE 



1st head 



2nd head- 



3rd head 



4th head 



5th head 



6th head 



7th head 



T^th head. 




Page Fifteen 



PIT OF ARM one-third width 

(IK SHULLDER 

THE WIDTH OF EACH SHOULDER IS 
THREE -FOURTHS LENGTH OF 
HEAD 

SHOl LDKR I INK <,,, pit of neck 

—ONE-THIRD HEAD BELOW CHIN 



BREAST LINE 



WAIST LINE ONE-HALFWAY BE- 
TWEEN 2nd and ;5rD HEADS 

ELBOW LINE 

ABDOMEN 



HIP LINE ONE-HALF WAY BE- 
TWEEN 3rd and 4tii heads 

END OF TORSO a little above 
4th head wrist linf 



KNEE LINE is one-half way 

between HIP LINE AND SOLES 
OF FEET 



ANKLE LINE 



SOLES OF FEET 



Drawn by Gertrude F. Derby. 

Fig. i21. — Coustruoliuu of fashion figure without model. 



Page Sixteen 



DRAWING WITHOUT A MODEL 




( 'null'-:!/ I'/ I'tygHf, 



Fig. a. — Modern fashions by Helen Dryilen wliioli show influence of Kate (Jreenaway. 



pick figures" (see page 22) make a 
good foundation, helping to make simple 
the foreshortening then necessary. For 
suggestions for turning the head in dif- 
ferent positions, see Fig. 23. 

14. Children's Proportions. — The chart 
shown in Fig. 24 illustrates the propor- 
tions found in various stages of devel- 
opment. In infancy, or at the age of 
about six months, the head measures about 
four times into the height; at four years, 
the head measures about five and one- 
fourth times into the height; at seven, 
approximately six and one-half times; at 
ten years, about six and three-quarter 
times; at fifteen, about seven times; and 
in the adult from seven and a half to 
eight times. Children's heads, therefore, 
it should be noted, are larger in propor- 
tion than those of the adult, the eyes are 
wider apart, the nose shorter, and the 
lips somewhat fuller. See Fig. 22, also 
Fig. 24 and Figs. 20, 94 and 95. 

Professor C. H. Stratz of The Hague, 
Holland, who is one of the greatest author- 

* See " Happy All Day Through," ilhistrated by Janet 
Caroline Hunt Rimmer. 



ities on the human body in the world, 
says a child grows as follows : 

First, in breadth and height from birth 
to the end of the fourth year. 

Second, in height from the fourth to 
the beginning of the eighth year. 

Third, in breadth from the eighth to 
the tenth year. 

Fourth, in height from the tenth to 
the fifteenth year, when the youth gets 
lanky, thin and angular; this is the period 
when the hands and feet look too big. 
Growth then continues to manhood or 
womanhood. 

In drawing children, great care should be 
taken to keep their legs, at the slim period, 
long and slender. Care must be taken not 
to make them developed, which detracts 
from their childlike charm and makes 
them look vulgar. In studying children, 
look at good illustrations by Kate Greena- 
way, Jessie Willcox - Smith, Elizabeth 
Shippen Green, Birch, and Helen Dryden.* 

15. Heads and Faces. — The general 

shape of the head is that of an oval 

Laura Scott, and also " Figure Drawing for Cliildren " by 



HEADS AND FACES 



Page Seventeen 








Fig. -is. — Showing constnietion lines that lielp in drawing heads. 

with the great e.st width at the top; ob- of the nose is halfway between the eye- 
serve this, too, in side, three-quarter and brows and chin. See Fig. 23. Tlie eye- 
back views of the head. The eyes are brows are on a level with the top of the 
in the centre of the head, and the end ear, and the lower end of the ear on a 








H Year 



4 Years 7 Years 10 Years 

Fig. 24. — Proportion of figure at different ages. 



Courtntu 0/ Home Pattern Co. 

T.5 Years Maturity 



Page Eighteen 



DRAWING WITHOUT MODELS 



level with the nostrils. This 
never-changing axis on which 
turns up and down. 
Note how the fea- 
tures are located 
in these changes, 
and how the fore- 
shortening is sim- 
plified by means of 
this method. In 
drawing heads al- 
ways use the centre 
and other construc- 
tion lines. 

When the head 
is turned up, we 
see more chin and 
less forehead ; when 
turned down, more 
forehead and Jess 
chin. The eyes are 
one eye apart, and 
fhe lower lip ends 
at about half the distance 
between the nose and 
chin. A triangle is helpful 
in dividing the face into 
planes, and great care 
should be taken not to 
ignore the cheek, jaw and 
chin bones. Observe that 
the cheek bones come 
slightly below the eyes, 
the jawbone slightly below 
the mouth. 

In drawing the nose it 
is helpful to think of a 
little round knob; from 
which extend the nostrils, 
sketch in the sides, and 
extend a hue suggestive of 



forms a rubbed out except the nostrils, but they 
the head will appear more correctly placed tlian 

when put in wilh- 
out this foundation 
thought. See Fig. 
25. 

In drawing the 
mouth, think first 
of a Cupid's bow, 
the string of which 
is broken in the 
centre; then sug- 
gest the lower lip, 
shade the upper 
lip, which is always 
darkest as the 
lower catches the 
light, and you 
have the mouth. 
Never make a hard 
line around the 
lips, as it destroys 
the flesh-like qual- 
ity. See Fig. 25. 

In making the eye, al- 
ways hold the pupil in by 
the line of the lid. Block 
in the head, ears, hands, 
and everything before 
putting in the detail. 

Hair should be expressed 
in waves of light and dark, 
not by single lines (unless 
you are making a deco- 
rative, unrealistic draw- 
ing). N e V er draw a 
clean-cut line between the 
face and forehead, because 
the hair in many places 
cmiHcsy of vogne. blcuds in wlth thc toHc of 
the face. See Fig. 26 




Fic. '-'(!, 



the planes. Afterwards everything can be and observe other drawings that show hair 



HANDS AND FEET 



Page Nineteen 



16. Hands and Feet. — The next step 
should be a careful study of the hands 
and feet. The drawing of these is sim- 
plified by looking for the large masses 
first and blocking them in. See Figs. 27, 
10, and 28. For 
example, in draw- 
ing the ]iand, deter- 
mine the relation of 
the length of the 
fingers to the palm, 
and where the 
thumb comes in 
relation to the 
fingers. All knowl- 
edge gained by 
study or observa- 
tion from life will 
help in drawing or 
ch icing them. Van- 
derpoel's Human 
Figure, mentioned 
before, has some 
splendid illustra- 
tions of both hands 
and feet that the 
student would find 
it helpful to study. 
One good way of 
studying them is 
to make careful 
drawings from these plates, and after- 
wards to try to making your own draw- 
ings first from life and then from 
imaginalion. See Figs. 28 and 29. 

Shoes are extremely important in fashion 
work, and should likewise receive the 
careful attention of the student. A good 
way is to group five or seven pairs of 
shoes, including sport shoes and slippers, 
in different positions on a sheet of bristol 
board about 11 inches wide by 14 inches 




high, using the Creek Law of arrange- 
ment. It is well to use real shoes and 
slippers for models, but study also well- 
drawn examples to see how they are usu- 
ally rendered. Notice how the inside of 

the foot is straight- 
er than the outside 
line, which has 
some curve. Ob- 
serve akso liow 
much shorter the 
line of the inside 
of the shoe is than 
the outside ]ine, 
which extends 
nearer the heel. 
See Figs. 25 and 
11. Note that the 
inside ankle is 
higher than the 
outside ankle. 

It is ■well to ob- 
serve what is aj)- 
propriate and to 
select shoes of 
different character. 
There are shoes for 
shoi)ping, for after- 
noon, for evening, 
for travel, and 
for sport. You 
shoe for the right 
dress. The footwear nuist be in keeping 
with the costume; not afternoon shoes 
or evening slii)pers with a sport suit. It 
is usually best to ha^'e evening slippers 
match the gown and hosiery unless you 
use a patent leather pump. 



In these days we cannot make the 
skirt cover up bad drawing of the feet 



Fig. 27. — Study of hands by Albert Diirer. 



must select the right 



Page Twenty 



D1^A^\ 1\G WITHOUT MODELS 






■i 








.if 






> 


f 

i 








.- ■:-?■;!:'" •-**«:.,,- 


-^■i 


"X 



Cuii.\;.<ij ,,/ The Inlinul I'niihr. 

Fig. 28. — Construction of Hand from Vanderpoel's " Human Figure." 



ARMS 



Page Twenty-one 




Lijur!,'<y of The Inland PrlnUr. 
Fig. 29.— Construction of Arm from Vanderpoel's " Human Figure." 



Page Twenty-two 



DRAWING WITHOUT MODELS 



Walking. 



and shoes. No longer can it be said of 
Dame Fashion that 

" Her feet beneath her petticoat 
Like little mice steal in and out, 
As if they fear the light." 

17. The Human Form 
Reduced to its Simplest 
Elements. — Relative propor- 
tions and helps to express 
action can perhaps best be 
acquired by observing the 
following facts in connection 
with toothpick 
figures: 

T he trunk, 
thigh, and leg are 
each about one- 
third the length 
of the body with- 
out the head and 
neck, though the 
trunk is a trifle 
the longest. The 
trunk is about 
twice the length 
of the head and 
neck. The elbow 
reaches to about 
the waist and the 
hand half way 
down the thigh. 

Walking is best de- 
scribed on papef when 
both feet are on the 
ground, though in reality 
the greater part of the 
time the body rests on 
one foot. See Fig. 30. 

Rimning is best shown 
when one foot is on the 




Fig. 30. 



Running. 





Leaping. 



Fig. 31. 
Jumping. 




Fig. 32. — Illustrating balance. 




Fig. 33. — Illustrating balance. 



Leaping is best shown in the same 
manner as running (limbs ready for the 
next effort), but with the 
feet off the ground as in 
jumping. See Fig. 3L 

Jumping is best shown 

with the feet off the ground 

but gathered together to 

/ preserve poise and ready to 

alight safely. See Fig. 3L 

A stick stands when 
balanced on one end and also 
when supported 
on each side as 
shown in Fig. 31. 
The body may 
be bent at the 
hips so as to bring 
the head over 
either foot and 
maintain an up- 
right position un- 
til the weight of 
the body is bent 
beyond the line 
of support, when 
it must come to 
the ground as 
shown in Fig. 32. 
Kneeling fig- 
ures, leaning 
back, make it necessary 
that support be given 
behind as shown by the 
vertical dotted line in 
Fig. 33. 

The student should 
notice that a straight line 
extending from the neck 
to the floor comes just 




Standing. 




ground, though in reality much of the time between the feet when the weight is 
both feet are off the ground. See Fig. 30. evenly distributed on both legs. When 



THE HUMAN FORM 



Page Twenty-three 





Figs. 34 and 35. 



Figs. 36 and 37. 



Toothpick construction applied to fashion drawing. 



the weight is on one leg, the phimb Hne 
begins at the pit of the neck (viewed from 
the front) and extends to the ankle of the 
supporting leg. On the other hand, when 
the figure is in action, the plumb line 
from the neck falls between the legs, pro- 
viding a proper balance; when this bal- 
ance is destroyed, the figure either has to 
be leaning against something or it falls to 
the ground. See Figs. 32 and 33. After 
studying these, it is well to build the 



figure on these foundations to acquire 
action. See Fig. 34. 

In Fig. 36 is shown a seated figure; 
the stool is the principal part of support, 
though the foot is extended to receive the 
weight of the body. Fig. 37 is this con- 
struction applied. 

Figs. 3-1, 35. 36 and 37 are given as 
illustrations of the use of the toothpick 
construction in giving action to the human 
form. 





Courtesy (/ Voo^tc. 

From a drawing by Helen Dryden, in wliich pencil, wash 
and ink were used, on a rough texture paper. 



METHODS 

CHAPTER THREE 



C HAPTEH THREE 



METHODS 



(a) 



18. The Greek Law. — In tlie sixteenth 
century, in the days of the Renaissance in 
Italy, Leonardo da Vinci with other artists 
worked out, through study of chissic art, 
an ideal proportion which is commonly 
known as the Greek 
Law. Instead of 
using exact me- 
chanical measure- 
ments, such as 
the half, third, 
fourth, etc., so 
easily measured 
in inches and 
easily grasped by 
the mind, this law 
supplies the idea of a consistent variety, so 
fundamental in all artistic things, stimulat- 
ing the imagination and lending interest to 
the object. Thus, if an oblong is divided 
horizontally in half, the equal areas will 
be found both mechanical and uninterest- 
ing, see (a). Fig. .'58. On the other hand, 
if the difference in areas is great, as in 
(b), Fig. 38, the sizes are too incomparable 
to be satisfactory. In (c). Fig. 38, the 
oblong has been divided into thirds and 
then into halves, and a point found some- 
where between one-third and one-half, 
through which to draw a horizontal, shown 
by the heavy line. It will be seen that the 
relation of the areas above and below this 
line to each other are neither mechanical 
nor monotonous, but subtle and interesting. 

Hem Muslin Tucks 

r ' V ' ^ 



(/>) 



(c) 



I'u:. .'JS. 



These same proportions may he prac- 
tically applied in clothing to tucks, hems, 
etc., as illustrated in Fig. 39. Suppose a 
line is drawn six inches long to repre- 
sent a muslin skirt. Divide by the Greek 

Law to find 
where any trim- 
ming (hem and 
tucks) should 
start. Re-divide 
the space given 
up to this trim- 
ming to obtain 
further good pro- 
portions (of the 
hem to the tucks). 
In Advertising — Its Principles and Prac- 
tices, published by The Ronald Press Co., 
the following statement is made: 

"This Greek Law of proportion is some- 
times crudely stated as Ihe ratio of 
5 to 7 to IL This is somewhere near 
correct, and perhaps near enough to 
work with. In ajijilying this ratio to 
the margins of a page it will clearly be 
seen that the widest nuu-gin, or 11. should 
appear at the bottom, the next widest, 
or 7, at the top, and 5, the narrowest, 
alike on either side in all vertical com- 
positions of space. In horizontal com- 
positions the widest margin should still 
appear at the bottom, the middle size 
at the right and the left, and the nar- 
rowest at the top. This is so that the 



1 

Fig. 39. 



s: 



;$: 



Page Twenty-eight 



METHODS 




-/ 



general form of the display within the 
composition shall preserve the same ratio 
as is found in the enclosing space itself. 

"Not only should the Greek Law of 
areas be applied to margins, but also, 
when possible with- 
out interfering with 
the meaning of the 
copy, it should 
apply to the width 
and strength of the 
various parts or 
paragraphs of the 
copy within the 
space. When it is 
possible to do this, 
the effect is doubly 
pleasing. There is 
also often a chance 
to apply these pro- 
portions to the 
blank space between 
different parts of 
the copy display. 
When it is possible 
to do so, this has an 
added value. Not 
enough attention is 
paid to the relative widths of these blank 
spaces. Blank space is often more eloquent 
than copy." 

Summarizing the above briefly, it is 
to be noted that: 

(1) Mechanical divisions are in- 
artistic. 

(2) Sizes too unrelated, such as a very 
large size and a very small one, fail to 
satisfy, as the mind does not see any 
relationship in things that emphasize each 
other's difference. 

(3) Areas or sizes near enough alike to 
be easily compared by the eye and yet 




r -?^ 




Dratm by Esther Wegman. 



Fig. 40. — Qukk .sketch from 

lile. 



different enough to interest because of 
their unlikeness, satisfy us. 

(■1) Spaces are most pleasing together, 
when one is between one-half and two- 
thirds the length or space of the other. 
This gives quite a 
difference in size for 
individual treat- 
ment, but avoids in- 
harmonious lengths 
or sizes placed to- 
gether. In other 
words, when tv/o 
lines are in good 
relation to each 
other, the shorter 
line is between one- 
half and two-thirds 
the length of the 
longer line. 

The Greek law 
may be applied to 
the margins of draw- 
ing papers as well 
as to folds and coat 
lengths. The best 
arrangement of 
margins for a vertical 
lay-out is to have the greatest width at 
the lower edge, the next at the top, and the 
smallest at the sides; while for a horizontal 
page the widest margin should still appear 
at the bottom, the second size at the sides, 
and the narrowest at the top. This is 
to preserve a like relation with the en- 
closed space. 

Design is selection and arrangement, 
and from the start of any work the details 
which nuike for good design should be 
kept in mind. If it is school work, even 
the name and the lesson should form part 
of the plan. Observe how the enclosing 



Fin. 41. — Costume sketch 

niatle from quick sketch. 



LAY-OUTS AND REDUCTIONS 



Page Twenty-nine 



form determines the sliape witliin. The the printed page is given to the artist 
nearer one comes to Uie structural edge, (for example eight inches high by seven 



the more nearly the 
lines should conform to 
it. Avoid lines that lead 
to corners, lines that 
lead to the centre, and 
lines that tend to be- 
come tangents. The 
lines of the background 
or setting should be 
less intense than those 
forming the object 
shown against them. 
The larger the area the 
less intense the color 
should be; the smaller 
the area the more 
intense the color may 
be. In order to have two 




Fig. 42. — Enlarging and reducing. Rectangles 
having the .same line as a common diagonal are in 



and one-cjuarter inches 
wide) and the number 
of figures to be put in 
tiiat space (say five 
figures). The artist's 
work is to c o m pose 
these figures in the 
most attractive group 
or groups. 

The first step is to 
enlarge the dimensions 
to a convenient work- 
ing size. In doing this, 
the original proportions 
must be kept. The en- 
larging is done by means 
of a drawing board, T- 



proportion. 



square, ruler and 
or more shapes hold together for unity, triangle. A detailed statement of the 
the space between must be less than the process, using the dimensions just given 

smallest of these shapes. | —^ r; — i is as follows: 

For illustration, the "^^^^ ""^fe^ /Q\ il l\ /0\ Draw a horizontal 

paths of a garden shoidd '^'^ v "^^^^X^ 7 \ ^^ * ''"*"' ^^^' *^° inches 
be smaller than the di- V^ I'WV V- U^ (-^ ''"^ U ^'^*^'" *'^^ ^'^^ *^^ ^^^ 
visions of the garden ) S^liV^ U Li U paper, straight across, 

shapes. ^^]\^^^^\-^^''''^'^^f'2i^ using the T-square, the 

19. Lay-outs and Re- ''MlTrt'//^ " V ^ \ ^jt ^^^ '^'''"^ "^ vs\\\q\\ is held 
ductions. — Lay-out is \\:f\\j \ \ft\f \ •''^•''"■'^t the left edge 

the technical name l\\\\^-><^->pir7 1 1 ^ /I/ °^ ^^^^ drawing board, 

given to the composi- i \U A^f ■^"^'^*^ ij\ \\\p<ir Next measure in, let us 
t i o n of a catalogue '^pj _^^ «j W « V If ^ ^'^J' ' ^^o inches from the 
page, and the drawing / \ ''^j^~'^*^f%m^ \j(il| ^^^^ ^^*^^ ^^ ^^^^ paper, 

of the figures which lJ[V^ '\Z^Jj) y'^^Y]Jl\ \ ''"^^ *^'''"^^' ^^^^ vertical 
go on it. It is also ap- li ^ /-'^ k IflA Lu ^'"*^" '>g'i'"-'^t the edge 
plied to the grouping of |[1| '^Cl" '<Jp»W^^\ _^ of a triangle, the ba.se 

any objects to be put f,,;. 43.-The rough lay-out.^ "^ ^^'l^'^"^^ ^^^^s against 

in a certain given space, the upper edge of the 

whether for magazines, booklets or news- T-square blade. At the left-hand upper 
papers. The height and width of the corner, measure seven and one-quarter 
space which the lay-out is to occupy on inches to the right and eight inches down 



1 c 



^ 



Page Thirty 

with the ruler, using the triangle to per- 
fectly complete this little rectangle; then 
draw a diagonal and determine the height 
desired for working out the lay-out and 
extend a horizontal line wherever this 
horizontal touches 
the diagonal, erect 
a perpendicular and 
the dimensions of 
the large and small 
rectangles will have 
the same propor- 
tion. See Fig. 42. 
Catalogue pages 
often go through 
many hands before 
they come out a 
technically finished 
product, photo- 
graphically perfect 
but often stiff, in- 
artistic and unin- 
teresting. There is 
often a special 
artist who does 
nothing but lay- 
outs, grouping the 
figures and plan- 
ning the page as 
in Fig. -13; another 
who makes sketches 
of the garments; 
another who draws them on the laid-out 
figures; another who puts on the large 
washes; another who does details such 
as lace and embroidery; another who 
finishes the heads; and still another who 
finishes the hands and feet. See Fig. 44; 
the original of this was twenty-five inches 
by seventeen and three-quarter inches. 
When, however, this work is done through- 
out by one expert artist, a much more 



METHODS 




f3<JOS50 



Fig. 44.- 



interesting effect is obtained. See Fig. 
45, the original size of which was 12| 
inches wide by 17f high. 

Each line bounding the lay-out should 
be touched by some part of some figure. 

The better the lay- 
out artist the less 
space will be wast- 
ed. It will be found 
advisable to give 
the centre to the 
figure with the 
darkest clothes, as 
this is found most 
agreeable to the 
eye, and also sets 
off the other fig- 
ures to advantage. 
The law of per- 
spective require? 
that, if there are 
s m a 1 1 e r fi g u r e s, 
these should be 
nearer the top of 
the page. The 
effect is like a 
staircase; when one 
stands below, those 
at the top seem 
smaller than the 
people nearer the 
foot of the stairs. 
For the principles of general composition 
which underlay all design, the student 
will find it helpful to read Pictorial Com- 
position, by Henry A. Poor; Principles 
of Z)e.s'7(7/i, by Batchelder; Composition, by 
Arthur Dow, and Principles of Advertising 
Arrangement by Frank Alvah Parsons. 

20. Mechanical Helps and Short Cuts. 
— Before taking up ink and wash render- 
ing, certain mechanical helps and short 



Courtesy of John WavximakcT. 
Conventional Catalogue drawing. The combined 
«ork of several artists. 



MECHANICAL HELPS 



Page Thirty-one 




cuts to results and effects must he con- 
sidered, such as Ben Day rapid sliading 
mediums, Ross Board, spatter, air brush 
and silver prints. Ben Day is a great 
time-saver, as can be seen from even the 
few samples shown 
in Fig. 49 of souic 
of the complicated 
textiles and half- 
tone effects obtain- 
able in the line cut 
or ink drawing. 

When Ben Day 
is desired, the 
places where it is 
to be used are 
colored with a blue 
pencil or blue 
water -color wash 
and marked with 
the number of the 
t e .X t u r e wanted ; 
the engraver with 
the Ben Day 
machine does the 
rest. See Fig. 49, 
and the floor and 
liat in Fig. 77, 
showing Ben Day 
stipple. Notice the 
difference between Fig- 45- 
these and Fig. 50, 
done by hand; observe particularly the 
greater irregularity of line. When two or 
more printings are made the Ben Day can 
be put on in color, but this necessitates 
two or more plates according to the 
number of colors used. See Fig. 97 in 
which two plates were used. 

Ros.s Board comes in a variety of designs. 
The three most used kinds are perhaps 
the plain white with raised or embossed 




texture, the smooth white with black 
texture, and the cross-ruled blind with 
black texture. A knife and pencil are the 
tools used to obtain effects with this 
paper. See Fig. 48. In the first, the 

stipple effect is ob- 
tained by rubbing 
the pencil over the 
plain vrhitc and 
the raised surface, 
which in this case 
consists of dots. 
These catch the 
lead and a stipple 
effect is the result. 
In the second, 
white can be ob- 
tained by scraping 
off the surface and 
a darker tone by 
rubbing a pencil 
on the rough sur- 
face. Two effects 
can be obtained 
with the third; 
with the knife, the 
stipple surface; 
with the pencil, 
the fine check. 
Black can be put 
on with ink. This 
makes possible an 
even gradation from white to dead black. 
Fig. 48. Fig. 46 shows a finished Ross 
board drawing. 

Spatter irork is done with a toothbrush, 
and makes good flat tone effects for tex- 
tures, posters and backgrounds. Cover 
the entire drawing, except the parts to 
be spattered, with paper, cutting out these 
to make what is practically a stencil 
(tracing paper fastened down with rubber 



Courtesy of John Wanamaker 
Catalogue drawing, the work of one artist from 
start to finish. 



Page Thirty-two 



METHODS 



cement is convenient). First, dip the 

toothbrush in a saucer of ink, hold it 

facing the paper and about three feet 

away, and draw the edge of a penknife 

or tlie handle of a pen or brush over the 

bristles toward 

you, letting the 

spatter fly onto the 

drawing. With a 

little practice this 

can be done very 

skillfully. See Fig. 

47. 

The texture of 
rough paper often 
gives interesting 
effects in the repro- 
duction of a draw- 
ing; for this rea- 
son crayon, pencil, 
charcoal, and even 
wash drawings are 
sometimes done on 
what is called a 




Fig. 48. — Drawing on Ross 

liigh Ijy 7" 



paper with a 

tooth, such as a 

charcoal or other rough paper. See 

Fig. 45. 

The air brush gives either an even or a 
varied tone, as desired, and in the doing 
of half-tone shoes it is found ver^^ useful. 
It is really an atomizer run by pressure, and 
by its use a great variety of tone can be 
obtained. See Fig. 55. As in spatter work, 
the surface of the paper to be kept white 
is covered. Frisket paper, which is thin 
and transparent, is used for this purpose 
and pasted down with rubber cement. 
When the rubber cement is thoroughly dry 
it nuiy be rubbetl oh", leaving a perfectly 
clean surface. The effect is photographic 
and mechanical. See Fig. 54. 



The silver print method is often used 
for making line cuts or pen drawings of 
shoes. For this purpose a silver print 
photograph is made in a size convenient 
to work over on Clemmon's plain salted 

paper and mounted 
on cardboard to get 
a smooth surface 
for drawing. Out- 
lines are then care- 
fully traced with 
the usual drawing 
pens and India-ink, 
doing deep sliadows 
first and gradually 
working up to the 
high lights. When 
finished, the silver 
or J) h o t o g r a p h 
color is bleached 
away by pouring 
over it a saturated 
solution of bichlo- 
ride of mercury. 
This leaves the 
pen lines clean and 



Courtesy of Quill Maoaziiu. 

Board, redured from an 8|" 
wide original. 



sharp upon a perfectly white sheet of 
paper. When dry, the result should be 
compared with the original photograph 
and touched up where necessary. See 
Fig. 52. 

21. Tracing. — Tracing is often found 
nccessarj- and is a time-saver in doing 
repeats, etc. Graphite paper gives a 
better line in transferring than carbon 
paper. 

The pencil should be kept very sharp 
when tracing and a hard pencil is good 
for doing the transferring through the 
carbon. Ruled squares are useful to put 
luider thin paper in doing some kinds of 
designs. 



TRACING 



Page Thirty-three 




No. s.'5 — Half-lonc, 



ssi^rrr^ 



^W?. 



■%fe^-^j5jSi £,;j:-j:^ij€^^ 



No. 3i7-^5?4 ''9'v 



i««feaska«k»»«*«**aBaft*B 




No, 3-'8 



««i^ii 



No. 3JJ— 9'4-^ '4/4. 



Fig. i8. — Ross Board: Embossed white, black and white texture and cross rules. 




No jof 


— ',', \t 


'" 


^^ - 


'<' 'SI" " 


■M 


k.. .,.,^ 


a^.BS.> 


,»i,-r^ 



Ko. 307.— 5 X 4'. 






No. 310.— 9X 7J$, 



No jiS -< '4 X u'l 






No 3.M- 





Ko, 3^9—9'/^ X 14'4 


















T 








J 








[ 








4 









Is 



No. 330.— 9; J X I4!! 



N'o. 331 — <)'i X 14]i. 




Xu 


33-— 9'4 X M'4 


^w 


1 




i 


^^fl 




1 




1 


^^B 



No. 334.-9^4 X 14^. 



Fig. 



No. 335-— 954 X MJi No. 336— 9)4 x 14J4. 

49. — Some samples of Ben Day. 



No. 33^.— c>.^4 X 11. 



Page Thirty-four 



METHODS 




Fig. 50. — Stipple work done ly hand. 



Stipple, which takes a 
long time, is done by dots 
made with the point of a 
pen. When a flat tone 
effect is desired, it is often 
p r o il II c e d b y sets of 
circles running into each 
other. See Fig. 51. If 
large dots are required, it 
will be found convenient 
to use a ball-pointed pen. 
Artistic and interesting 
effects can be obtained in 
this manner. Sec Fig. 50. 

22. Silhouette. — In do- 
ing silhouettes the follow- 
ing statement made by 
Miss Harriet Lord, 
the silhouette portrait 
artist some time ago 
in the Tribune, is 
helpful commercially, 
and her permission 
has been secured to 
cjuote it: 

"Perhaps no one 
has demonstrated 
more clearly than 
]\Iiss Lord the im- 
portance of the pose 




Fig. 51. — Detail of stipple. 




Fig. 52. 



Courtisy of E. 



i^uurttny of Abraham a- .>i. i*«.,. 

of a head, how much ac- 
tion, what varying humor, 
may be found in the way 
in which a head is perched 
on a person's shoulders. 
A little boy whom she has 
portrayed. Fig. 57, holds 
his neck perfectly rigid 
with head raised in the 
back and lowered in front. 
One can feel the restrained 
life in the little chap, the 
unusual quality of his 
attentive attitude fostered 
by some engrossing in- 
terest outside. 

"There are ever so 
many things to re- 
member in making 
silhouettes. Certain 
j)ersons cannot be 
pictured in this posi- 
tion, for in many 
persons profile means 
little; it is the eyes 
or something in the 
drawing of the full 
face that is indicative 
of the true personality. 
Adams. Many faces are im- 



SILHOUETTE 



Page Thirty-five 



mobile and one must look to their eyes 
for character. They cannot be well sil- 
houetted. Little points must be re- 
membered such 
as in this little 
girl. Fig. 58. You 
see her hair is 
down her back, 
but I have allow- 
ed a spot of light 
to shine through 
to give the out- 
line in suggestion 
of her neck. Not 
to have done this 
would have made 
an awkward line 
and, more impor- 
tant, a line that 
was not satisfac- 
tory, for it al- 
most hinted at a 
falseness or ap- 
parent abnormal- 
ity. The chair 
on which a person is seated must be 
examined, for it must not melt into the 
person's figure with puzzling results. 
And it is well to break in with lights. 




Fig. 5,3.- 



for they add character and life to the 
drawing. 

"And then, too," explained Miss Lord, 

"one is startled 
to find how much 
each line and 
curve of the face 
means. Nothing 
is ignored and a 
slightly upturned 
lip may be the 
touch that gives 
an unmistakable 
note of character- 
ization to the 
cutting or inking." 
The silhouette 
is a very cjuick 
method of gaining 
an effect, being 
merely an outline 
sketch, usually 
profile, filled in 
with black ink. 
See Figs. 57 and 
58. White is sometimes successfully added 
as in Fig. 5(). 

Half-tone figures are said to be sil- 
houetted when the white paper appears 



300570 



300S69 

Courtesy ot John WanamahcT 
Catalogue page. 




Coitrtesy of J . J ■ ^iQtrr. 
Fig 5i — Shoes stiadeil with air bru5;h. 



Fig. 5.5. — Etfect prodiiced by u.se of an air brush. 



Page Thirty-six 



METHODS 




Fig. 56.^Black and white silhouette used by the Fulton 
Theatre to advertise "The Misleading Lady. " 



as the background. A silhouette is a design 
sharply defined; the clear outlines of the 
drawing coming directly against the paper 
on which it is re- 
produced. Fig. 69. 
A vignette is a sil- 
houette having at 
the base or behind 
the figure, or in 
some part of the 
design of the figure, 
a wash that disap- 
pears in a vague 
shadowy eflFect. This 
wash is reproduced 
only in tone and has 
no definite line 
marking its edges, which end in an indefi- 
nite vagueness (such as the veil ends) 
and the shadow background. See Fig. 63. 
23. Construction of the Circle. — It is 
understood that a circle 
is made with a compass, 
and an ink circle usually 
with a ruling pen. In 
speaking of pens, we 
might say here that 
there are many kinds of 
lettering pens, which will 
be found serviceable, 
when such work is re- 
quired. Good books on 
lettering are: Writing and 
lUnminating and Lettering, 

Lby Edward Johnston, and 
the booklet called Book of 
Alphabets, hy Yi..\^ .^hay- 
lor. There are other good 
books on this subject by 
Lewis F. Day and Frank 
Chauteau Brown. 

24. Constructing an 




Courtesy of N . Y. Tribune. 

Fig. 57.— Silhouette 
by Harriet Lord. 



Ellipse. — With a compass measure from 
A to B, Fig. 59, then put the compass 
at C and strike a circle as indicated by 

the dotted line from 
D to E. Where the 
circle intersects the 
horizontal line at D 
and E, place pins. 
See Fig. 60. Also 
at the point C 
stretch a thread 
from E to D around 
C, and tie at C. 
Remove the pin at 
C, and, holding the 
pencil perpendic- 
ularly, describe 
the ellipse shown, see Fig. 60. 

25. Swipe Collections.* — Swipe collec- 
tions is the commercial and expressive 
term for what most artists call docnments, 
and this is one of the most imi)ortant 
items under the list of materials. It con- 
sists of examples clipped from all sources — • 
catalogues, booklets, maga- 
zines and newspapers — 
illustrating different tech- 
nique and the expression of 
numerous textures, plaids, 
stripes, vel- 
V e t s and 
detail of all 
kinds. These 
are not to 
be used as 
copies, but 
as a teacher, 
showing waj^s 
that have 
been used 
with success. 

, . Courtesy of N. Y.Trihune. 

Copying IS Fig. 58,— Silhouette by Harriet Lord. 




* In cla.ssifying documents for reference in boxes or envelo|)es, these headings will be useful: Men, Women. Children, 
Animals, Flowers and Fruit, Outdoor Scenes, Furniture and Interiors, Decorative Subjects and Page Decorations, Color 
Plates and Booklets. 



/ 



TEXTURES 



Page Thirty-seven 



one way of studying, but is advisable 
only when done with intelligence. See 
illustration of a "swipe," Figs, (il and 
62, 63 and 64, showing a case in which one 
drawing suggests the pose for another. 

26. Textures. — 
In illustrating 
black material in 
pen and ink, con- 
sideration must be 
given to whether 
it is a shiny tex- 
ture with many 
high lights, or a 
dull black silk or 
velvet, with little 
or no shimmer. 
The supporting 
points usually 
catch the light, 
and it is here that 
the whites are left 
or put in. The 
trinnning has to 
be kept light, to 
show the detail. 
See Figs. 65 and 
66. 

Stripes and 
plaids are both 
done in a manner 
to give the best 
expression pos- 
sible to the special 
design to be re- 



alternate square spaces with black. See 
Figs. 67, 68 and !).'5. 

Dotted and flowered materials shoidd 
not be expressed in a helter-skelter manner, 
but, for satisfactory results, should be 

thought out in 
an orilerly way, 
using imaginary 
squares or dia- 
monds for a foun- 
dation. See Figs. 
7, 8, 68, 69 and 83. 
Chiffons must 
keep their trans- 
parent quality, 
usually expressed 
by a delicate line. 
Chinese whi te, 
when used dis- 
creetly, is often 
helpful for this 
purpose. 

Laces and em- 
broid cries are 
carried out either 
in detail or in 
sketchy way, ac- 
cording to require- 
ments. When the 
drawing is needed 
to advertise a 
particular lace, 
greater detail 
must be given 
than when ad- 
presented. Complicated designs often have vertising the pattern of a dress in which 
to be greatly simplified for reduction, any kind of lace can be used. See Fig. 72. 
and care must be taken to give the gen- When the lace is to be done for repro- 
eral efi'ect in the most telling way. See duction in half-tone — in other words, when 
Fig. 67. Shepherd plaid, when carefully in wash drawing — in an elaborately worked 
done, is often made by drawing small out way, i.e., catalogue wash, a dark 
cross stripes in pencil, and filling in background is made (for white lace) and 




Fig. 60. — Constructing an ellipse. 



Page Thirty-eight 



METHODS 



the lace is worked out in Chinese white 
over this dark ground. See Fig. 68. 

Wash work embroidery 
is also done with Chinese 
white, but the background 
differs in tone according to 
the sheerness, while the 
solidity of the pattern is 
indicated by heavier lines 
on the shadow side. For- 
tunately, even in catalogues 
of the better character, 
more is being left to the 
imagination, giving a much 
less stilted effect. 

Side plaits, box plaits, 
tucks, gathers, etc., are all 
drawn the way they really 
look in realistic drawings. 
See Fig. 7 for decorative 
treatment. They are also 
made simpler, see Figs. 70 
and 71. 

Stitching is expressed by 
a straight line or a line of 
dots, though there are sev- 
eral different ways of 
making them. See 
Fig. 7. 

Fur is done in masses 
of lustrous dark and 
light with a soft irreg- 
ular edge, avoiding too 
" Hney " an effect. The 
treatment, in fact, is 
much the same as for 
feathers and human 
hair. See Figs. 26, 74, 
and 75. In decorative 
drawings many different ways of 
rendering are used, sometimes a line, 
sometimes dots, and sometimes a com- 



bination 
Fig. 71. 



of the two being used. See 




CinirUi-y nf Voeiic 
Fig. 61. — The original. 




Cojirtcsij nf Gimbcl liros. 

The adaptation. 



To express textures well, 
the student should cultivate 
a love and appreciation for 
them. It is good to handle 
them, study them, and ob- 
serve them at home, in 
shops, in the street, at 
plays, in museums and in 
pictures, noticing the 
weight they have, the folds 
they make and the lines 
they take. Still-life studies 
of them are helpful. 

Very interesting for the 
study of drapery are the 
drawings of Albrecht Diirer. 
See Fig. 100. Observe the 
supporting points. Of 
course there are many dif- 
ferent methods of treatment 
as, for example, the way 
one would treat a decora- 
tive drawing as opposed to 
how one would treat a real- 
istic one. See Figs. 70, 
? 71, and 72. 

27. Pen and Ink. — 
Pen and ink is a very 
interesting and much 
used medium in fashion 
work. It may be di- 
vided into several 
headings as, work for 
newspapers, for maga- 
zines, and for catalogues. 
And these again may be 
subdivided into groups. 
For instance, there is the pen-and-ink 
newspaper proper style. This is paid for 
by the newspaper and is often done in a 



PEN AND INK 



Page Thirty-nine 



broad, bold way with no particular at- 
tention given to seams or texture. 
This is also known as editorial, be- 
cause under charge of fashion editors. 
See Fig. 73. 

There is neivspaper pattern drawing. 
This is paid for by the pattern com- 
pany, and here more attention is given 
to seams, tucks, darts, and the like than 
to texture. See Fig. 76. 

Again there is department store adver- 
tising. This is paid for by the de- 





CiiurUsv of N. Y. Globe. 

Fig. 63. — The original — An example of vignette. 



Courtesy of Gimf)cl Bros. 
Fig. 64. — The adaptation. 

partment store, and here seams 
are ignored and attention concen- 
trated on texture, and expression 
of the style. See Fig. 77. This is 
sometimes done in a more general 
illustrative way, as in headings, 
or for a service, when the same 
illustrations are used in stores 
throughout the country; then the 
idea is expressed in an abstract 
way. See Fig. 78. 

A good deal of space is often 
devoted to the newspaper's own 
drawing, while the pattern drawing 
is usually given a column or two, 
and there is not cjuite so much 
stress laid on the filling of space in 
either of these cases as in the de- 
partment store work. See Figs. 73 
and 77. Ben Day often, and wash 
sometimes, are combined with news- 
paper pen and ink. 

Magazines have the same three 



Page Forty 



METHODS 



classes of pen-and-ink drawings and the 
same principles hold true. See Figs. 70, 71, 
79, and 83. The 
magazines, how- 
ever, are printed 
on superior paper 
and with better ink, 
so that charming 
effects with deli- 
c a t e washes, 
which would be 
entirely lost in 
newspaper re- 
production, can 
be obtained. See 
Fig. 81. Ben 
Day is used with 
great success in 
magazines. See 
Figs. 79 and 97. 

In the best 
pen-and-ink 
work for cata- 
logues and ad- 
vertising, care is 
taken, not only 
to suggest text- 
ure and detail, 
but to express 
the general char- 
acteristics of the 
garment and its 
tipecial charm. 
A good example 
isgiveninFig.72, 
which was used 
forcatalogueand 
also magazine 
advertising. 

Pen-and-ink work for pattern catalogues 
is usually done in a stiffer way than that 
done for magazines and newspapers. This 




Cojirusy of Cloi)C. 

Fig. 05.— Illustrating dull 
black material. 



is because, in the great care used to show 
every seam and detail, much of spontaneity 

is often lost; nev- 
ertheless great 
improvement in 
this matter has 
been made of late 
by a number of 
the pattern 
houses, as is 
shown in the 
careful little 
drawing of un- 
derwear, Fig. 
8'-2, but which 
still seems very 
stereotype in 
comparison to 
Fig. 97. 

Decorative, 
or more or less 
unrealistic tech- 
nique, has been 
used much more 
of late in both 
newspaper and 
magazine edito- 
rials and adver- 
tising work, but 
it is not often 
used in pattern 
drawing, b e- 
cause of the ex- 
actness usually 
recjuired for this 
type of work. 
This decora- 
tive work, while 
so simple and 
permitting of a certain uniqueness, 
requires even a greater knowledge of 
drawing to do it successfully than the 



Fi< 



C(). — Illustrating sliiny 
black material. 



PEN AND INK 



Page Forty-one 




Courtesy of stern Bros. 
Fig. IJ7. — LajDiit ilhislnitint; metliorls of rendering, stripes, plaids, checks, etc. 



Page Forty-two 



^METHODS 



naturalistic work, 
where mistakes 
are sometimes 
hidden. 

In this decora- 
tive work beauty 
of line and in- 
teresting spotting 
is given great 
consideration. 
The effect is ob- 
tained by the 
fewest lines pos- 
sible, and very 
interesting work 
of this tj'pe can 
be found in pen- 
and-ink, wash and 
color. This style 
of work was first 
made popular by 
Aubrey Beardsley, 
see Fig. 85, and 
the student would 
find it profitable 
to see his illustra- 
tions of Sir Thomas 
Mallory's Morte 
d' Arthur, Brunei - 
leschi's illustra- 
tions of La Nuit 
Venetienne, and 
Les Masques et les 
Personnages de la 
Co m ed ie It alien n e, 
and Kay Neilson's 
illustrations of 
Powder and Crin- 
oline. * The draw- 
ings of George 
Barbier (some of 
which can be 



' » • » » • I t I I 



><»■ ■ ¥ ■■ w « ■ 



••••••••■•• 



■•••••••••• 





-■;,.!.;;<•-( 



s. cuhe:n. 







Pig. 68. — Catalogue detail done by Samuel Cohen. 



seen in Album 
Dedie a Tamar 
Karsaria), Le- 
pa])e and Erte, 
all show the in- 
fluence of Aubrey 
Beardsley and 
should be studied 
by the fashion 
artist. See Figs. 
70 and 71. 

Headings and 
page decorations 
are often required 
by the department 
store fashion art- 
ist, see Fig. 84, 
and here is the 
place where good 
ideas are at a 
premium. For 
this reason, other 
people's ideas 
should be con- 
sulted, studied 
and weighed, and 
something plaus- 
ible and catchy 
worked up. The 
same thing holds 
true of feature 
cuts or, in other 
words, white 
sales, silk sales, 
toys, etc., and 
these do not want 
to be omitted 
from the swipe 
collection — not 
that you are 
going to copy 



* Also " East of the Sun and West of the Moon," and Fairy Tales by Hans Andersen illustrated by Harry Clarke. 



INDIVIDUALITY 



Page Forty-three 



them, but that they may give you an in- 
spiration. 

In doing pen and ink the beginner will 
find Gillott's 170 
pen or Gillott's 303 
pen most useful. 
Because of their 
firmness, it is easier 
at first to gauge 
your line. After- 
wards the Gillott's 
290 and 291 pens 
will be found very 
agreeable to work 
with because of 
their elasticity. 
Higgins' waterproof 
ink is useful where 
wash is to be com- 
bined with the pen 
and ink, but many 
people, for general 
use, prefer Higgins' 
non-waterproof and 
French black ink. 
Use two- or three- 
ply Bristol, plate 
(or smooth) finish 
if for ink alone, kid 
finish if washes are 
to be added. Very 
good effects can be 
obtained with ink 
and a brush, see 
Figs. 73 and 86. 

A large drawing 
board placed at the 
right angle against 
a table will give better results than the 
board flat on the table. Usually speaking, 
it is best to work from the toj) down 
and from left to right, but when a long, 




Drawn by Reta St-ngcT. Courtesy of Good Housekeeping Magazine 

Fig. 69. — A silhouelted Iialf-tone drawing. 



straight, even line is desired, satisfactory 
results will be obtained by keeping the 
right arm, from the elbow, resting on the 
board and drawing 
away from you. Do 
not get your lines 
too close together. 
Observe the differ- 
ence between a dry, 
harsh line and one 
full of variations 
of color. Practice 
beginning a line 
dark and ending 
ligiit and vice versa. 
INIake your line ex- 
press the soft deli- 
cacy of skin (see 
Fig. 65), the light- 
ness of chiffon or 
the heaviness of 
velvet. IMake every 
line you put down 
tell or mean some- 
thing; this requires 
study and applica- 
tion. Compare Fig. 
82 showing a hard 
line with Figs. 20, 
22, 70, 71 and 97, 
showing a beautiful 
one, and be able to 
tell the difference 
and why. 

It is understood 
that a pencil sketch 
is made first and 
that the ink is put 
in afterwards. Reproductions in pen and 
ink are called line cuis. 

28. Individuality. — There are great dif- 
ferences in the make-up of different 



Page Forty-four 



METHODS 



people. Some of us seem born with a We cannot declare either of these manners 

strong mechanical bias and others with good or bad to the exclusion of the other, 

a delicate sensitiveness. In the one case for each of them, and all the gradations 

we will tend to draw strong and precise between, have their purpose. The great 




Courtcfiy of Harper's Bazar, 
Fig. 70. — Erte magazine editorial drawing — showing influence of Aubrey Beardsley. 

lines, in the other to draw lines that are thing is to find out the method that is 

light and subtle though by no means to most natural to you and improve that 

be confused with the weak and broken to the utmost. Do not be discouraged 

lines of inexperience. The distinction is if your forte is the delicate, sketchy line 

one that will be noted not only in our and if you do not succeed with the pre- 

modern art, but also in old Japanese prints, cise mechanical one. Find the place that 



INDIVIDUALITY 



Page Forty-five 



is waiting for you where your particular 
manner is needed. 

Too often those in charge of art de- 
partments do not appreciate any kind of 
work except that which they happen to 
use. Do not let them discourage you, 
hut remember the words of Carlyle, 

ui ob- 



"The block of granite which is 



Problem. — On a one-quarter size sheet 
of bristol board, held vertically, plan mar- 
gins according to the (Ireek proportions. 
Divide the space within the margins into 
four equal parts. In the upper left-hand 
corner draw lightly, with a compass, a 
well-related circle; in the upper right- 
hand corner draw lighllv, free hand, a 




Fig. 71. — Magazine editorial ik'coralive fasluou drawings designed by Krte. 



Cuurtisu uf llaipt^r's liazar 



stacle in the pathway of the weak be- 
comes a stepping-stone in the pathway of 
the strong." 

One way to cultivate the proper ap- 
preciation of beautiful lines is to begin 
by drawing the simplest kind of forms. 
This is certainly advantageous in the case 
of children, and a teacher of such a class 
wouhl no doubt find it useful lo give out 
such a lesson as this: 



well-related oval; in the lower left hand 
corner another well-related oval; in the 
lower right-hand corner a well-related 
ellipse. Then, with a very sharp pencil, 
go over these lightly blocked in figures 
with as beautifid lines as jjossible. Ihis 
problem can then be repeated with the 
idea of filling in these spaces with con- 
ventionalized designs to be used for belt 
buckles or other ornaments. 



Page Forty-six 



METHODS 



Courtesy of Ellsworth Co. 
Fig. 72. — Pen and ink catalogue drawing which 
was also used for a magazine advertisement. 




'Courlt'sy oj Bruutli 
Fig. 73. — Ilhi.strating newspaper editorial in which pens 
fashion work is combined with brush work. 



WASH 



Page Forty -seven 



The power to make boautiful lines must first 
be obtained with the pencil, before the same 
result can be attained with ink. It is well to 
have the student really know what a good line 
is before beginning a problem of this kind. 
For this purpose have examples of diiferent 
kinds of good and interesting lines, such as 
Japanese prints, some reproductions of good 
line drawings by IMcQuin, Ertc, Drj-den, Drian, 
etc. Too much must not be taken for granted 
about students or beginners knowing just what 
a good or beautiful line is, otherwise the mis- 
takes of trying to get a hard, inexpressive, 
mechanical line is often the result. For that 
reason it is well to have drawings made in a 





Courtesy of Stern Bros. 
Fig. 7-1. — A fur calalogiie page. 



Courtesy of Gtmbcl Bros. 
Fit:. 75. — Realistic treatment of feathers. 

tight, mechanical way to compare 
with those done with more feeling. 
Each student .should start making 
a collection of line drawings with 
this comparison idea in view. 

29. Wash. — Wash is a very use- 
ful medium for fashion work, espe- 
cially where photographic effects are 
desired, as, for instance, in cata- 
logues. In newspapers it is not so 
often used as in magazines and cata- 
logues, because the poorer paper on 
which the newspapers are printed does 
not tend to successful reproduction. 

For magazines, just as there are 
different ways of using pen and ink, 
so there are three kinds of wash; the 
eilitoricil, the pattern, and the adver- 



Page Forty-eight 



METHODS 



ti.sing. These again can be divided into and approaches catalogue work in effect; 
different styles of work, as the 7T«//.v/;V, tlie in fact, sometimes the same drawing 
sketchy, and the decuraf ire. Still again, there which has been used in a catalogue is 
is pure wash and there is wash combined also used to advertise in the magazines, 

with pen and ink or crayon. See Fig. 81. 

In the editorial ^^^ Wash for cata- 

type most attention ^r I logues is usually very 

is given to the at- ^r I much finished and 

tractiveness of the ^r | often done without 

picture. See Fig. 89, X L^=^S5v much addition of pen 

done in a decorative X J^S^^ and ink. See Fig. 53. 

way, and Fig. 90, X 'Wj^ These drawings are 

done in a more re- W f^/^w made with the in- 

alistic style. / ;1^^^ I /^^\^\ tention of advertising 

In the pattern \i /nWi J L l^'''l<^ w''^ t'^** garments illus- 
type most attention W '^'^^%tT M\ \1M trated, and for that 
is given to the seams E /CrC/f^f |S|.tt X^^ reason great stress 
and the way the H iir ' /f f A ^^^^^O^ is laid on the mate- 
garments are made, #1 H' l"^ IfimM^^^i ^'-^^^ '"^"^^ details, 
and less to the ex- LK^ ^1^^ ' ^ A Sometimes wash, 
pressionof any Ap^^C'^li il^ 11 ^f 1 J^^ pencil, crayon pencil, 
particular kind of f IWt^^'''^ Mffi 1 Kl IW r' ^ and pen and ink are 
material; in other EtL MiMHir>3 ■I \\, 4 "" (^"'"^ined in a 
words, the textural I Im jJii iilHlif ro 'H^V drawing; for this, 
and artistic sides i HI / f|P|f||fjjf U "1| ^ careful reproduction 
are subordinated to | I|X |||iif _1 'li^ r^ ^'^ required. See 
the practical pattern. I IJjr li ii I f ^'"m!^ ^ ■^'^' ^^^' 
This is done in a \,Jf^ IPI f! I Vi"^ \ '^''^'' materials 
realistic way. See 1 ^^^11 il'l ' i \l "^ \ ^^^'^'^ ^"^ ^'*^'^ ^^^ 
Fig. 91. m .^^^ yi|i!l|]Jt 1\'%^^\ usually Steinbach or 

In washforadver- ^^^^^^^"^rl \ / V ^.^ Curtis Board (IIlus- 

tising, attention is (L/ 1 ^^tr-^-^l ^''''^tion Board), but 

concentrated on \ ^*^ ^ for magazine wash, 

presenting the 'jz'^s, ^ 7914 j^j j brjjjtol and some- 

. , .1 1 , CourtcS'i of Home PftttcTti Co. •■ .1 

garment to the best ^ „,. .. ., . ,• tunes even smooth 

6 V >. I Pj^ ^,^ — Newspaper pattern lashiuns. 

advantage, bringing bristol (when only a 

out its best features and its textures. This light flat wash is desired) are used. You 

is done in a freer, more artistic manner, will find it good to have Winsor and 

but often is done in a decorative way Newton's Lampblack and four brushes, 

except in catalogues. The wash is com- Numbers 3 and 4 and 6 and 7 are suitable, 

bined with pen and ink, as in Fig. 9'-2. You should also have a blotter, some rags. 

Yet sometimes it is very much finished a sponge for washing off" all the color if a 



WASH 



Page Forty-nine 




how the small folds often end in a little 
hook. 

Practice putting darks in with one 
brush and blending then off with another. 
Get so you know just how much water 
you want on your brush to get certain 
effects. Always mix enough of the color 
which j'ou intend to use as the large wash, 
and dip your brush into that instead of into 
the water and back into your paint, this 
to avoid giving your wash a streaked look. 
The Eberhard Faber green or red eraser is 
a great help to pick out lights. Often a 
wash, when nearly finished, has a very 
discouraging appearance, and sometimes 
all it really needs is the intensifying of the 
blacks and some touching up of the edges, 
buttons and the like, with Chinese white. 



Cuuncsy 0/ Frtdtrlck LorscT Co. 

Pig. 77. — Department store advertising. 

mistake is made, and a large white saucer ^ 
for mi.xing black. 

Most satisfactory results are obtained 
bj' having your figure and garment very 
carefully drawn first, then putting in 
your darks or shadows and after these 
darks are absolutely dry, your large 
washes. Give very careful study to the 
texture and the folds. 

It is well, when beginning, to get very 
good drawings showing examples of the 
materials you are endeavoring to express. 
Observe how each material is affected by 
light and how the light looks on the 
folds. See, for example, how in shiny 
black silk the dark side blends into the 
shadow, while on the light side there is 
a crispness and unblended look; also note 




Courtesy of Pry Coods Economist Co. 

Fig. 78. — K department store cut service illustration. 



Page Fifty 



METHODS 



To practice large washes com- 
mence by drawing a large square 
and, tipping your board towards 
you, draw your brush very full 
of color across the top of the 
paper from left to right; refill 
the brush, taking up the rivulet 
on the edge of the first line and 
repeat the operation until you 
have covered the square. You 
should have enough paint mixetl 
in your saucer to finish that 
square. Very beautiful wash ef- 
fects are often obtained with 
just flat washes. They are very 
artistic and lovely because of 
their simplicity and have none 
of the worked-over look of the 
catalogue work. See Fig. 89. 

There is always transp;irency 
and life to the first wash which 
is lost if you go over 
it often. Never be 
afraid if the wash 
looks too dark. Re- 
member that it will 
dry lighter and resist 
the temptation to 
work on it when part- 
ly dried. You must 
keep it clean and 
bold. Occasionally, 
stand off from your 
work and see how it 
looks. 

Such things as 
white dots or stripes 
on the dark ground 
of a suit are put in 
with Chinese white 
after the dark material 
is otherwise finished. 




Courtesy of Vo'juc 
Fig. 7!). — Mafjazine 
pattern drawing. 




t'ourt'S!/ t>t lirif dooiis Economist ('< 
Fig. so. — A department store cut service illustration. 



Gray efTects to be put on over 
black are obtained by mixing 
Chinese white with lampblack; 
this makes a body color and 
can be put on o\'er dark in the 
same manner as pure white. 

If a light streak is desired, 
for instance up one side of the 
skirt, riui a clean brush with 
very little water in it up that 
side while the wash is still quite 
wet; this will give the desired 
effect. 

Sometimes a color is added 
to a wash drawing effectively. 
This is put on like an ordinary 
wash, but for reproduction 
necessitates the using of two 
plates and two printings. See 
Figs. !)8 and 99. 

Fig. 93 shows the method of 
j)rocedine, or steps, 
in doing the conven- 
tional wash drawing 
for a catalogue. For- 
tunately this photo- 
graphic method is 
giving way to a more 
artistic one. 

30. Crayon Pencil. 
— Crayon pencil is a 
fascinating medium. 
It is used in pref- 
erence to pencil for 
reproduction, because 
it has not the shiny 
quality of the usual 
lead which prevents 
that from photo- 
graphing well, and 
therefore from being 
good for reproduction. 



CRAYON PENCIL 



Page Fifty-one 



Chalk, crayon and pencil, however, are rough paper, and the tooth or roughness 

handled in much the same fashion and of the paper gives an interesting texture 

have much the same effect, and by them to the drawing. See Fig. 45. 
great beauty and much feeling may be In doing half-tone drawings, especially 

expressed. See frontispiece. Nevertheless wash, and particularly in decorative work, 



chalk docs not 
lend itself so 
readily to detail, 
famous as it is 
for its more illus- 
trative or sketchy 
quality. 

Wo 1 f c r a y o n 
pencils are very 
good. B and 3B 
Wolf c r a y o n 
pencils and kid 
bristol board are 
the proper ma- 
terials. Kneaded 
rubber and Eber- 
hard Faber green 
or red rubber are 
useful, also an 
emery board pad 
to keep the pencil 
points sharp. 

It is best to 
sketch the draw- 
ing in first with 
the B pencil and 
then put the 
darkest darks in with the .'5B and the 




Courtesy of Slern Bros. 
Fig. 81. — Half-tone catalofriie drawing, also used for magazine 
advertisement. 



it is well to limit 
oneself to a cer- 
tain number of 
tones or values 
and not to have 
a munber of in- 
termediary tints 
and shades. This 
is best done by 
determining how 
many values are 
desired, mix ing 
them in separate 
pans (as much as 
is to be needed cf 
each) and then 
limiting the 
washes to these. 
This gives a simple 
distinction to the 
finished drawing 
which is decidedly 
desirable. See 
Fig. 89. This 
simplicity is lost 
in Figs. 81, 44, 
and 5.'], which are 
done in such a realistic wa\' because of 



more delicate finishing touches with the the almost photognipliic r('])n)(luclion re- 

sharply pointed B. Sometimes stumps quired. Both simplicily and charm are 

are used to rub the shadows in, giving the lacking in some magazine illustrations, 

drawing less line texture. See Fig. 10. and much catalogue work where a realistic. 

Sometimes wash is combined effectively or photographic effect is the chief aim. 

with the crayon, then again the crayon See Figs. 103 and 9,3. A pleasing com- 

drawing is carried out almost entirely in promi.se between the strictly decorative and 

line. See Figs. 94 and 9.5. the absolutely ])li()t()graphic can be seen in 

Sometimes crayon pencil is used on Fig. 4o, where line effect is used for shad- 



Page Fifty-two 



METHODS 




Courtesy (./ Butterick, 



Fi<i. 8-2. — I'en and ink pattern catalognr 



ing, the flat washes being put on over the 
charcoal (h-awing. The mistake, however, 
of mixing tliese two styles in one drawing 
must be avoided. 

In instructing a class it is well for the 
teacher to give some simple problems to 
be done in two or more values of wash. 
Many good examples of this method are 
to be found in Compomtion by Arthur Dow. 



In consiilering methods the student must 
keep in mind what the purpose of his 
finished work is and then use the method 
which is best adapted to that end. But 
while this is true he must not let the 
methotl he is using interfere with the ex- 
pression of his own style and individuality 
of work. 

In doing brush work with ink, see Fig. 



BRUSH WORK 



Page Fifty-three 




I'ouncsv 0/ Rattan Nils. 



Fig. 83. — Magazine pen and ink advertising. 

86, it is well fir.st to become acquainted imicli for a more comprehensive under- 
with this medium and method, on some standing of the possibilities there de- 
practice paper. The decorative effect of scriljetl and ilhistrated. These can in 
good spotting is very imj^ortant, for the many instances be apphed to fashion 
finislied composition, and ihe student is work. Fig. 73 and 83 are examples of 
again referred to Compusilidii by .\rlliur fashion sketches where good spotting has 
Dow, a careful perusal of which will do been obtained with brush work. 



page Fifty -four 



METHODS 



THE EVEINIISO MAIL 



nETRMBER IB la 



WANAMAKERS 



WANAMAKERS 



WANAMAKERS 



WANAMAKER'S Bnwdwwy- Eighth to Tenth Si- 




tlfjc Manamaker Cfjristmag ^alc of Wi^th pianos anb ^laj)er=^iano£f 

Fig. 84. — An original idea for a musical heading. 



CuuTUsu Of John Wanamater. 



Etching is a method hitely used in fashion 
ilkistration. Drian and Miss Steinmetz 
have both obtained some charming effects in 
this way, but it is a difficult and expensive 
metlimn to have reproduced, and for that 
reason is not hkely to come into general use. 

The student is recommended, in fact 
urged, to become familiar with the work 
and methods used by such artists as Drian, 
Soulie, Brunelleschi, Barbier, Lepape, 
Erte, McQnin, Steinmetz, Helen Dryden, 




Rata Senger, Fern Forrester, Claire Avery, 
and the other artists mentioned in the 
text, as good examples of the best work is 
often the best instructor one could have. 

It is still comparatively seldom that the 
costume designer or illustrator does much 
with textile designing, the field being con- 
sidered somewhat apart, but as a change 
in these matters appears imminent, it 
has seemed expedient to include the method 
of procedure. 




Fig. 85. — Drawing by Aubrey Beardsley. 



Courtesy 0/ Abraham & Straus. 

Fig. 86. — Showing how brush work can be 
combined with pen and ink. 



TEXTILE DESIGNING 



Page Fifty-five 



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■^ 



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I 



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Fig. 87.— This illust 
or CDlton print 
the design, but 
repeated in the 



Courtesy of Women^s Wear. 
rates the repeat of a design for silk 
ing. The dotted linos are not part of 
are to show that the unit of design is 
length every three inches. 



TEXTILE DESIGNING* 

" The kiiifl and color of paper used in sub- 
mitting tlesigns is immaterial. But we 
would suggest that white be used and the 
ground painted in. Tempora paints are 
generally used. At least one full repeat 
and, if the design be small, two or three 
repeats should be shown. The design is 
a guide to the printer or wea\'er and must 
clearly indicate how the artist desires the 
finished fabric to appear. 

" The technique of woven designs is very 
complicated, but it is only necessary for 
the artist to remember that simple figiu'es 
and few colors are best, that the size of 
each repeat should never exceed twelve 
inches and the repeat is across the web, 
not in the length as it is in printing. 

" The size of the paper, then, would de- 
pend on the size of your design. In order 



that you may clearly understand the part 
that dimension plays in the commercial 
value of a design, we will describe the 
roller over which silk fabrics pass in the 
process of printing: 

" The roller is 16 inches in circumference 
and three-quarters of an inch in thickness. 
Its width is immaterial because the widths 
of different fabrics vary so greatly. The 
pattern to be printed is engraved in the 
copper. The roller revolves, takes up the 
color from the color box at the bottom; 
the color is removed from the smooth 




Fig. 88. — Illustrating three kinds of Ben 
This is reprinted through the courtesy of Women's Wear. 



Day. 



Page Fifty-six 



METHOD 




Fig. 89. — Decorative half-tone treatment used in r.:agazinc editorial. 

surfaces by the scraper, or 'doctor' at the 
side, and remains only in the indented 
portions, which constitute the pattern. The 
cloth, passing just above the doctor, takes 
up the color that remains in the indented 
or engraved portions, and registers the 
design. 

" A new cylinder, as we have said above, 
is 16 inches in circumference. When a 
manufacturer wants no more goods printed 
from a ccitain pattern, the cylinder is 
polished off and engraved with a new pat- 
tern. With each polishing a thickness of 
copper is removed, and the circumference \ 
of the cylinder of course grows less. When 
a cylinder has been used for a number of 
patterns, the circumference has graduallA' 
been reduced from Ki to 1.5 inches, and when 
it becomes less than 15 incj^es it is junked. jn 



" You will see, therefore, 
that a pattern (in order to 
be mathematically correct) 
must either take up the 
entire 15 or 16 inches of the 
roller, or must repeat an 
even number of times with- 
in 15 or 16 inches. In 
other words, the pattern must 
l)e 15 or 16 inches in length, 
or must be repeated at in- 
tervals evenly divisible into 
15 or 16. A three-inch 
repeat would register five 
times on the 15-inch roller; 
a four-inch repeat four times 
on a 16-inch roller; a 53-inch 
repeat, three times on on a 
16-inch roller; there is prac- 
tically no limit to the pos- 
sible variations. A 12-inch 
repeat, on the other hand, 
would be impossible; it would 
have to be diminished to 




in ill E. M. G. SliinmcU. Courlesv of Vogve. 

90. — Characteristic Editorial wash drawing. 



TEXTILE DESIGNING 

one-third or one-fourth its size to 
become practicable for printing. Most 
commercial tlesigners work on a 7?, -inch 
square for silk. 

" The above refers to the printing of 
silks. For jirinting cottons, the same 
process is used. A cotton jirinting 
roller, however, is 18 inches in cir- 
cumference when new, and for suc- 
ceeding patterns is polislKnl until the cir- 
cumference becomes 1(1 inches. AVlien 
designing for cottons, iherefore. the 
repeat must be figured on the basis 
of a 16- to 18-inch cylinder, corre- 
sponding to the 15- to 10-inch scak- 
for silk printing. For example, a three- 
inch rei)eat could be used for silk or 
cotton being divisible into either 15 or 
18. On the other hand, a six-inch 
repeat could be used only for cotton; 
it is evenly divisible into 18 but is 



Page Fifty-seven 




Fig. 




/'•iitrti^y (if Cheney Bros. 
Fk;. 92. — Charaitcrislii- lialf-tone iiiagaziiic ailvcrtising. 



^ Cuvrtcsv of cm -non Magaztne. 

91- — Magazine lialf-loiie pattern drawing. 

not evenly divisible into 15 or 16. 
All 8§-inch square is the commer- 
cial .standard for use in cotton design- 
ing for dress goods. 

" A pattern is expensive In propor- 
tion to the elaborateness of the 
engraving and the number of colors 
used. It is connni'rcially important, 
therefore, that the arrangement of 
colors be effective and the actual 
number of them be kept down. 
It is better to limit the number 
of colors, if possible, to five or less 
although more colors can be used. 
This refers both to silk and cotton. 

" With no wish to restrict the art- 
ist, we suggest that museiuns and 
libraries be often consulted for ideas 
and we feel that the artist may 
with profit give some thought to 
the condition of mind of the women 
of America. For this is always 



Page Fifty -eight 



METHOD 






Fig. 93. — Illustrating steps in a conventional wash catalogue drawing. 



Courtesy of Hini y Son 



of great importance in determining the 
sale of decorated fabrics. Endeavor to 
make designs that are beautiful and 
original at the same time they are 
appropriate to certain definite fabrics. 
Remember that a design may be intri- 
cate and not beautiful, may even be 
beautiful and not appropriate. Do not 
be afraid to be simple and do not merely 
copy.* 

" Keep in mind that a textile design is not 



a picture, seen on a flat surface, but the 
decoration of a garment which will fall 
in folds. Visualize your design in the 
fabric, made up as some part of a woman's 
costume. That is the test of a good design." 
The chapters on Color, Design and 
Period Fabric Design should be care- 
fully consulted in comiection with the 
mechanical method given above in re- 
gards to Textile Designing. For general 
Theory of Design such books as Design 



* In designing, scale of color and texture must not be overlooked. Certain colors that arc too brilliant or crude for 
indoors are appropriate for sport wear out of doors, where the scale of everything is greater. 



TEXTILE DESIGNING 



Page Fifty-nine 




Fig. 94. 



Crayon pencil sketches. 



Cuutttay 01 uudua' tlomc Journal. 

Fig. 95. 



in Theory and Practice and Principle.s of 
Design by Ernest Batchelder, Handbook 
of Ornament by F. S. Meyer, Decorative 
Design by Joseph Cumniings Chase, 
Theory of Pure Design by Den man Ross, 
200 Units of Design (plates), Henry 
Warren Poor, and Plant Form and Design 
by A. E. V. Lilley and W. M. Midgley 
will all be found helpful to the student. 



The peasant design must not be over- 
looked and such books as "A Magyar 
Nep Miiveszete," Molonyay, in four vol- 
umes. Peasant Art in Austria Hungary, 
Peasant Art in Sweden, Lapland and 
Iceland, and Peasant Art in Russia, 
edited by Charles Holme, will be found 
an inspiration to designers and stu- 
dents. 




Accessories drawn by Claire Avery. 



Courttsu of Voiiue. 




From an etcliiiig by K. M. A. Steinmetz. 



Courtesy of Harper's Bazar. 



COLOR 

CHAPTER FOUR 



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CHAPTER FOUR 



COLOR 



31. General Theory. — The most con- 
venient and general theory * about color 
is that based on the three primaries, red, 
yellow, and blue. As tluse colors can- 
not be reproduced l>y the mixture or 
combination of any other colors, they are 
said to be pure or simple colors, i.e., 
primaries. 

The secondary or binary colors are 
orange, green, and purple. These are 
made by mixing two of the primary colors 
together. This mixture forms the com- 
plement of the remaining primary. Binary 
colors are halfway between the p.-imaries 
on the color chart. 

Red and blue make purple, the com- 
plement of yellow, and directly opposite 
yellow on the color circle. 

Blue and yellow make green, the com- 
plement of red, and directly opposite red 
on the color circle. 

Yellow and red make orange, the com- 
plement of blue, and directly opposite 
blue on the color circle. 

Complementary colors, being directly 
opposite in the spectrum circuit, are 
wholly unrelated in their normal intensity. 
They show strong contrast and enrich 
each other. See Fig. 9G. 

A color mixed with its complement 
makes gray. 

* Another Theory: There is another color theory whicli 
declares the elements of color to be red, green, and violet- 
blue. This is based on spectrum analysis instead of 
pigments and is preferred by some authorities. It changes 
the color wheel somewhat, regarding colors and their 
complements, making red the complement of blue-green, 
green the complement of reJ-purple, and violet-blue the 
complement of yellow. 

For further explanation see .-1 Color Notation by A. 11. 
Munsell. 



The coldest color is blue and the warmest 
is its complement, orange, which is the 
farthest away from blue in the color 
wheel. 

Tertiary Colors are . those formed by 
the mixture of the secondary colors. 
Ihus, green mixed wilii purple makes 
olive; orange mixed with green makes 
the tertiary citrine; and orange mi.xed 
with purple gives russet. 

The more a color is grayed the more 
neutral it becomes. 

By normal color is meant the foundation 
color of a scale of tone, the tones getting 
darker or lighter from this foundation. 

By tone is meant the modification of 
any normal color by the addition of 
black or white. 

By tint is meant the light tone of 
any color (formed by the adiling of white 
or water to a standard color). 

By shade is meant the dark tone of 
any color (formed by the adding of 
dark or black to a standard color). 

By scale of color is meant the grada- 
tion of a series of tones of the same colcr 
from the lightest tint through the normal 
or pure color to the darkest shade. 

By hue is meant the departure from 
the original scale of a certain color, to 
a greater or less degree, by the addition 
of a comparatively small proportion of 
another color. For hue think around the 
color sphere; the even steps between the 
binary and adjacent primary in the color 
sphere is called the hue. Thus the step 
between blue and green is blue-green, 
between green and yellow, yellow-green, 
botli hues of green. In the same way 



Page Sixty-four 



COLOR 



there are two hues of violet, two of orange, tliink up and down the color sphere; 

and two of red. To change a color to yellow is lightest, violet darkest, in value, 

a hue add the next-door neighbor (any 32. Harmonies of Likeness. — Ilar- 

color between two primaries), that is, monies of likeness may be classified as: 

change its place on the spectrum. 1. Monochromatic, i.e., a group of dif- 

By intensity or chroma is meant the ferent tones, values or intensities of one 




Drawing by Reta Senger. 



Courtesy ofGooC. Housekeejnng. 



Fig. 97. — Editorial inagazine fasliiun work in vvliicli color Ben Day is used. 



strength or brilliancy of a color. For 
intensity think inward or across the 
sphere. To change intensity, add the 
complementary color; in other words, 
gray it. 

By value is meant the amount of dark 
or light expressed by a color. For value, 



color. This is sometimes called a one 
mode harmony. 

2. Analogous, i.e., made by colors that 
are next to each other in the color circle, 
and are harmonious because they have, 
in tlitt'erent quantities, a common element. 

3. Dominant Harmony, i.e., several colors 



HARMONIES OF DIFFERENCE 



Page Sixty-five 



all influenced or subdued by the same 
color. 

33. Harmonies of Difference. — The har- 
monies of difference are: 4. (a) Comple- 
mentary, i.e., two complementary colors 
used together with some unifying ele- 
ment, by the mixing of the one with the 
other or by mixing a little gray with 
both. 

(6) Split complementary harmony, i.e., 
the combination of a primary with the 
two colors on each side of its secondary 
complement; as yellow combined with 
red-violet, and blue-violet, or blue com- 
bined with yellow-orange and red-orange, 
or red combined with yellow-green and 
blue-green. Always begin on the pri- 
mary and split on the complement; never 
split a primary color. 

(c) Double complementary harmony, i.e., 
that made by the combination of two colors 
side by side on the color wheel with their 
direct opposites, as, for instance, violet 
and blue-violet with yellow and yellow- 
orange. 

5. Triad Harmony, i.e., any harmony of 
three colors that make an equilateral tri- 
angle in the spectrum circle. Example: 
yellow-orange, blue-green and red-violet. 
In producing triad harmony, use hues 
and neutralize to make them harmonious. 
Only one of the three should be wholly 
intense. 

34. Laws for the Use of Color. — Law 
governing intensity. The larger the area 
the less intense the color must be and 
the smaller the area the more intense the 
color may be. 

Law of background. — Backgrounds must 
be more neutral than objects shown upon 
them. 

Neutralization. — Three parts yellow and 

* It is not well to combine colors in their full 



one part violet makes a neutralized yellow 
or gray-yellow. 

Three parts violet and one part j'ellow 
makes a neutralized violet or gray-violet 
halfway between violet and gray. This 
is true of the other colors.* 

35. The Color Chart. — To make a color 
circle which is composed of the full in- 
tense primary colors, yellow, red, and 
blue, and full intense binary or sec- 
ondary colors, orange, green, and violet, 
and the full, intense intermediate hues, 
yellow-orange, yellow-green, blue-green, 
blue-violet, red-violet and red-orange, 
with the inner circle showing these colors 
half neutralized and the center neutral 
gray, a paper should be used which holds 
water color (a "Keystone" Student's 
Drawing Block nine by twelve is good), 
on which to make the washes. These 
may be put on in small areas from two 
to four inches square. Satisfactory colors 
to use for this chart are Winsor & Newton's 
Gamboge for yellow, Winsor & Newton's 
Alizarine Crimson mixed with Milton 
Bradley's Standard Red for red, Winsor 
& Newton's New Blue for blue, Winsor 
& Newton's Cadmium Orange and Stand- 
ard Red for orange. New Blue and Milton 
Bradley's Standard Green for green, and 
Milton Bradley's Standard Violet for 
violet. 

(Don't nu'x standard red, standard 
green, or standard violet with other colors 
for use, except on the chart. They stain 
and settle. They can be used satisfactorily 
only in small areas. The ten-cent tube 
is the size to obtain for the color chart 
— the Winsor & Newton colors difier in 
price and are more expensive. These are 
the colors that seem the best to obtain 
the desired result.) 
intensity unless relieved by black or white. 



Page Sixty-six 



COLOR 



To obtain tlie hues such as yellow orange, 
it is untlerstootl that a little yellow is 
added to the orange, for yellow-green a 
little yellow to the green, while for blue- 
green a little blue is added to the green, 
etc. The colors of the inner circle, which 
are known as colors at their half intensity, 
as, for instance, gray-orange or gray-yellow, 
are obtained by mixing the color with its 
complement. For example, about three 
parts yellow plus one part violet makes 
a neutralized yellow or gray-yellow. On 
the other hand, three parts violet plus one 
part yellow etjuals gray-violet, and this is 
true of all the other colors. The three 
primaries mixed give the center, neutral 
gray. (Alizarine crimson, gamboge and 
new blue.) 

Taking a neutral scale showing nine 
degrees of value from white to black, the 
equivalent color values should be found 
for the color chart; as for example, the 



Yellow 

Yellow-Orange 

Yellow-Green 

Orange 
Green 

Red-Orange 
Blue-Green 
Red 1 
Blue J 
Red-Violet 
Blue- Violet 
Violet 



W. White 

H. L. High Light 

Light 

L. L. Low Light 

M. Middle 

H. D. High Dark 

D. Dark 

Low Dark 
B. Black 



This value scale should be used in 
selecting colors in order to keep them 
keyed correctly together according to 
value. 



Practice on the paper in these small 
squares about three inches in size until 
satisfactory results are obtained; do not 
get your paint on too thick or too thin. 
Be sure your brush is perfectly clean and 
get one color at a time, always making 
four or five squares that you may be sure 
to obtain a satisfactory value for your 
choice of color. After you have finished 
cut your squares out and compare them 
with your value scale; half closing your 
eyes often helps this comparison. When 
a satisfactory selection has been made, 
use either a quarter, a nickel, or a dime, 
according to the size of the chart you 
wish to make and put these over the 
smoothest part of the washes, draw with 
a sharp pencil a circle, with the coin as 
a guide, and then cut out the colored 
discs. A compass should be used to 
make a guiding line for the placement of 
these small discs, which should be done 
very carefully. A good library paste 
should be used to mount the discs. 

36. Significance of Color. — In Prin- 
ciples of AdrcrfisiiKj Arraiujemcnt the author 
says: "Color is one of the most interest- 
ing and important elements in nature, 
because the eye, the organ of one of 
the five senses of man, sees nothing 
but color. Form, as we call it, is seen 
only because one color is placed against 
another and by its position and contrast 
makes a shape. And every tone of color 
has a separate meaning — yellow speaks a 
definite thing to those who understand it. 
Blue cannot say what yellow says— 
neither can red or violet." 

\n a folder gotten up by the Art in 
Trades Club of New York City, \'aluable 
information was given in a strikingly simple 
and concise way under the heading, The 



SOURCES OF COLOR SCHEISIES 



Page Sixty-seven 



Principles of Color Ilannony, which reads 
as follows: 

" Psychological Significance. — Color, as 
it varies in hue, value and intensity, hy 
its intrinsic tjualities and the association 
of ideas, excites certain definite thoughts 
and feelings in the human mind. 

Hues. — Blue — cold, formal and distant. 
Green — cool and restful. 
Yellow — cheerful, brilliant and unify- 
ing. 

Red — warm, rich and aggressive. 
Orange — hot, striking, but decorative. 
Violet — mournful, mystic, and darken- 
ing. 

Value. — Light color tones express youth, 
femininity, gayety and informality. 

Dark color tones express strength, dig- 
nity, repose, and seriousness. 

Intensity. — Colors in their full intensity 
are strong, loud, vital, and elemental in 
feeling. 

Colors that have been neutralized ex- 
press subtlety, refinement and charm. 

Balance in Color Harmony. — Colors to 
balance in harmony must be similar in 
intensity and area. If dissimilar, the in- 
tensity must vary in inverse proportions 
to the area. 

Backgrounds should be less intense than 
objects to be shown on them." (It is not 
well to figure a whole warm object on a 
cold background.) 

37. Sources of Color Schemes. — Many 
are the designer's sources for color schemes. 
With the knowledge of what harmony 
consists in, he may go to nature and find 
an endless variety in the animal, mineral, 
bird, reptile and flower kingdoms, and 
in atmospheric effects. Or he may go 
to museums and stiuly china and glass 
and textiles, such as tapestries, rugs and 



old embroidery and laces. Again, he may 
go to picture galleries and get inspira- 
tions from old and new Japanese prints 
and from old and new masters in art. 
See illustration of the gown adaptation 
from Whistler's Nocturne, Fig. 102. 

In deciding what colors are becoming; 
it must be reanembered that a color not 
only reflects its own tint on the face of 
the wearer, but also its complement (this 
is called simultaneous contrast). Therefore, 
the eyes, hair, and skin of the wearer must 
be considered and such a color for the 
dress chosen as will neither give the per- 
son a faded, ghastly tinge nor too harsh 
and florid an appearance, but which will 
enhance his or her particular beauty. In 
large area» neutralized colors are alwaj's 
best — avoid the harshness of too much 
intensity. 

A very ugly combination may result 
from putting together two different hues 
of the same color. Simultaneous contrast 
can take place with a disastrous result. 
This is often what we mean when we 
say one blue kills another or one red kills 
another red. On account of this matter 
of hue, things that are the same color 
but of a difTerent hue do not always 
harmonize. 

Be careful about using together colors 
of the same intensity, unless both or one 
is much neutralized. It is usually more 
satisfactory to use the more brilliant 
color in the smaller quantity. 

Modern colors have taken on many 
titles which they change from season to 
season, and which, while catering to the 
imagination of the jjublic are quite over- 
whelming. This is wittily expressed in 
the following quotation from Dr. Frank 
Crane. 



Page Sixty-eight 



COLOR 



MODERN COLOR 

BY 

Dr. Frank Crane 

"Yes," said the saleslady, "we have all the new official 
Panama Exposition colors!" 

"For instance?" 

"Well, there's flagpole red, wall blue, exposition gold, 
travertine, lattice green, and " 

"But haven't you anything in just plain colors — red, 
green, or yellow and so on?" 

"Oh, no!" 

"Aren't those reds over there? " 

"We don't say red, you know, any more." 

"What then?" 





"Well, this is cerise and those are raspberry, brick 
dust, cardinal, crushed strawberry, carnation, and — let 
me see — this is old rose, this is ashes of roses, this is 
watermelon, this is sunset pink." 

"You interest me. How about blues?" 

"Why, there is navy blue, and Copenhagen blue, and 
Alice Blue, and old blue, and ultramarine blue, and sky 
blue, and robin's egg blue, and -" 

"That's enough. I'm afraid you'U say Monday blue. 
Tell me some yellows." 

"Oh, lots of them! Straw, champagne, dust, tan, ca- 
nary, lemon, orange, tango, sand, and so on." 

"Goodness! " 

"Then we have in greens, Nile green, parrot green, 
lettuce green, Alice green, emerald green, Irish green, 
Reseda and others." 



s 





vf 



Fig. 98. — The reproduction from the color plate. 



Courtesy of Crtterion Maoazine. 



SOURCES OF COLOR SCHEMES 



Page Sixty-nine 



"Isn't there any sucli lliin^; :is just iilaiii. (inlinary 
ereen? " 

"(^Ii no! It's the sliatle, yon know. Here, for example, 
are elephant 's hreath gvuy. and taupe." 

"IndeciH " 

"Yes; anil then all the flower eolors are represented — 
ro.se, violet, lavender, wistaria, nasturtium, pansy, daf- 
fodil, American Hcauty, elierry blossom, and l)opi)y 
re<l." 

"Charming! They appeal to the imagination." 

"Precisely. Half of the color-pleasure of dress poods 
is the pleased fancy. We strive for the uni<|ue, such as 



wood shades — walnut lirown. mahogany, oak, and chest- 
nut; bird colors, such as coxcomb, chanticleer, dove, 
canary, yellow and parrot green; jewel tints, as ruby, 
sapphire, pearl, amt)er. lopaz, coral, jailc, and tur(|Uoi.se 
blue." 

"I am overwhelmed." 

"Oh. there are others — the most fantastic. You can 
have a claret necktie, a flame ribbon, laces of ivory or 
Isabella, a sash of cream, coffee, or chocolate color; a 
gown (if mouse gray or steel gray, and other articles of 
your apparel, to assist you to perfect .self-expression. 
Maybe the color of poniegrMate, apple green, fawn, delft 




Courtcs]/ 0/ Crttcrton Magazine. 
Fig. on. — Reprodu( tion .showing the combination printing from the two plates. 



Page Seventy 



COLOR 



blue, lapis lazuli, taffy, salt and pepper, mustard, cinna- 
mon, mud, stone, cabbage, putty, string color, or wine 
color, besides Indian red or Pompeian red, sea green or 
pea green! '" 

"Thanks! I think I'll take some ribbons, some of those 
advertised as "distinctly American in nomenclature"' 
give me some Palm Beach, Piping Rock, Tuxedo brown, 
Arizona silver, Gettysburg gray, Oregon green, Delaware 
peach, Newport tan, and Rocky Mountain blue, if you 
please." 

38. Applying Colors. — In painting, be- 
gin at the lop anil color downward, from 
your left to your right. The edge of a 
color may be softened by a clean, damp 
brush; this is necessary in doing velvets. 
AVhere shiny taffeta is desired, let the 
paints dry in a harder line to give crisp- 
ness and do not work over while still wet. 

Cold colors serve as shadows to warmer 
colors and should be laid on first; gen- 
erally, warm colors over cold should be 
the rule. After the .sketch is finished 
and dry, unfinished-looking darks can be 
picked np with some darker darks and 
the high lights on the edges of coats, 
pockets, tucks, etc., can be brought out 
by thin, steady, crisp Chinese white 
lines when detail is desired. 

Prussian Blue, Lake, and Sepia mixed 
make gray. One way of graying, or 
neutralizing, a color is by adding a little 
of its complement; but Payne's Gray 
and black are often of value for this use 
in dressmakers' sketches and commercial 
drawings. 

All brushes must be kept clean and rinsed 
after use. Never leave them in the water. 
Take plenty of color in your brush and 
try first on a piece of spare paper to see 
that you have the right tone and that 
the brush is not too wet or too dry. 

When you intend covering a space with 
a flat tone, have enough color mixed to 
TO from the top to the bottom and from 

*See 



side to side without doing any more 
mixing or dipping your brush again in 
the water. Have the drawing board tilted 
toward you and enough color in your 
brush to ensure its keeping the little 
rivulet going without the danger of dry 
spots. For practice work it is well to 
make some eight-inch squares and to try 
covering their surfaces with a uniform 
tone. 

\Yhen you are making a dressmaker's 
sketch in white, it is sometimes helpful to 
put a little color in the background, up on 
one side and down on the other, not mak- 
ing it too intense, and taking care to 
soften the edge. 

When wishing to work in opaque (or 
body color), add a little Chinese White 
to your color. This is often useful for 
reproduction. What are known as Devoe's 
Show Card Colors are good for tempera 
fashion work. Theatrical costume designs 
are often carried out in this way.* 

Thompson's White has a stiff quality 
which makes it of value in doing dress- 
makers' sketches, where raised buttons, 
beads, embroidery, lace, etc., are desired. 
Put it on rather dry and let it stand 
until all moisture seems gone before touch- 
ing up these buttons, beads, or lace with 
color, gold or silver. Ink is often used 
with color, both for dressmakers' sketches 
and for reproduction. 

Have your sketch always carefully made 
in pencil, putting in the details last. 
Put in your big washes first and keep the '^ 
whole sketch going, being particular not 
to concentrate too much on any one 
part. Avoid " niggling "; keep your wash 
clean and bold. 

Orange Vermilion makes good flesh '^ 
tones — vermilion, good lips and color in 
Page Nine. 



COLORS 



Page Seventy -one 



cheeks. There are two Mays of putting 
this color on; one by putting the orange 
vermilion in a very light tone over all 
the flesh and then, when dry, adding the 
desired color to the cheeks (preferably 
having it high on the cheek bone) and 
quickly softening the edge; the other 
way by stippling or putting on the added 
color with the tiny point of the brush 
while the all-over flesh tone is still 
wet. 

Always remember that colors dry much 
lighter. Blue and bluish gray make good 
shadows for white. In doing a dress- 
maker's sketch in dark blue or black, 
always keep the color transparent and 
lighter than the real material, though 
having the same effect, so that the detail 
will be shown. 

The following supplies will be found 
useful in doing this kind of water-color 
work : 

Colors. — Winsor & Newton colors are 
preferred. Less expensive but good stu- 
dent's colors are Devoe and Favor Ruhl. 
It is best to buy the box separately and 
fill it with the colors desired. Tubes dry 
up, therefore, unless colors are to be used 
constantly or in quantity, it is more eco- 
nomical to buy half pans, with the excep- 



tion of black and white; these should 
be bought in the tubes. 

One should have Prussian Blue and 
either New Blue, Cobalt, or Ultramarine, 
Payne's Gray, Emerald Green, Hooker's 
Green 1, Hooker's Green 2, Lemon Yellow, 
Yellow Ochre, Naples Yellow, Raw Sienna, 
Burnt Sienna, either Rose IVIadder, Car- 
mine or Crimson Lake, Vermilion, Orange 
^'e^milion, Mauve, Sepia, Van-Dyck 
Brown, Gold, and Silver. In tubes. Lamp- 
black and White, and Thompson's White 
if raised work is desired. This list is 
found convenient in saving the time of 
mixing in doing dressmakers' colored 
sketches. 

The best colors to get in the Devoe 
Show Card list are White, Light Yellow, 
Orange, Light Red, INIagenta, Mauve, 
Dark Blue, Light Blue, and Green. Some 
artists use letterine when a shiny finish 
is wanted. 

Brushes. Rubens, and Winsor & New- 
ton red sable brushes are recommended. 
Good sizes for fashion work are Nos. 3 
and -1, and 6 and 7. Devoe or some less 
expensive brushes should be used for ink, 
Chinese white, gold, and silver, which 
are injurious to brushes. Bristle brushes 
are good for a steady, broad line. 




(^y^ 



Drawn Ijy Robert Henry for Felix .Jnngninnn & (ie., Paris. 



^•5 




C.Bflf<8jtR tafj 



CnnTVu'j nf Vogue. Nett York Rcprcsmlntlves 
of the Gazette du Bon Ton. 



LES COLCHIQUES 

[anieau ae voyage ae Paquin 



From a color illustration by George Barbier. 



DESIGN 

C II A P T E R FIVE 



CHAPTER FIVE 



DESKiN 



39. Fundamentals of Good Design.— full at the shoulder and skirts that 
Ortit-r is tlie law of all design, No matter are very narrow at the bottom, .as these 
how far we allow our fancy to go, we should accentuate the size of the hips and trunk. 



never lose sight of the 
principles of design; bal- 
ance, rhythm, and harmony. 
Furthermore, we should 
always aim at simplicity 
and appropriateness. 

Like the architect, we 
should study ancient and 
mediieval examples as well 
as later ones. Like his, 
our jjroljlem is two-fold: 
First, to find out the best 
and most beautiful that 
can be conceived, and 
second, to adapt it to our 
own present-day needs. 

Great heed nuist be 
given, fundamentally, to 
personal characteristics. 
The materials used for 
comfort or ornament can 
then be so chosen and so 
treated as to neutralize 
individual defects or de- 
ficiencies and to enhance 
every good point.* 

40. Facts Always to be 
Kept in Mind. — Conunon 
sense and observation 
show that stout people 
should avoid large head 
decorations, and hats which 
make a person appear 
shorter than their real height, as they 
enlarge the head proportion. They 
should also avoid sleeves that are very 




Fk:. 100.- 



Horizontal lines make 
the figure look .shorter 
and stouter; the shorter 
the vertical lines are 
made, the shorter the 
person will seem. Bands 
of contrasting tone or 
color accentuate the line 
effect. Stout people should 
avoid large figured goods 
and materials too bright 
or too light in color. 

Thin peojjle with very 
narrow, sloping shouklers 
should avoid the exagger- 
ated kimona and shoulder 
seams drooping over the 
arm, and should keep to 
the horizontal shoulder 
lines, if they do not wish 
to emphasize this personal 
characteristic. 

Tall, thin people should 
avoid long vertical lines 
such as very definite or 
large stripes, for these lines 
accentuate height. This 
is not true of inconspicu- 
ous stripes. They should 
avoid a coat line which 
cuts them into awkward 
lengths Remember the 
Greek law: When two 
lines are in good relation to each other, 
the shorter comes between one-half and 
two-thirds of the longer line. 



Courtesy of \fllc Jacqurllne. 
Hat inspireil by a how I 
uf tulips. 



* " Woman as Decoration " by Emily Burbank, will lie fouml profitable reading in this connection. 



Page Seventy-six 



DESIGN 




Tall, thin people .should 
avoid narrow-chested ett'ects 
and clothes that fit too 
tightly. 

Everybody should beware 
of too conspicuous plaids and 
stripes or figured materials. 
As a rule do not combine 
large figured materials with 
small figured materials.* 

Small people, when se- 
lecting figured goods for themselves, 
should always get small figured materials, 
emphasizing their daintiness. Note this 
even in plain stuff's, as, for instance, 
how a narrow-ribbed corduroy suits a 
small person better than a wide-ribbed one. 

Figured, striped, or plaid materials, 
which approach plain material, will stand 
more trimming thap those in which the 
designs are emphatically decorative. 

Equal or nearly equal amounts of dark 
and light are unsatisfactory unless they 
approach an "all-over" tone. 

When other things are equal, square 



Vn:, 101. — Gowns that are in .style to- 
day were in vogue five tliousaiul years 
ago as a study of the figures at the 
IMetropuHtan Mu.seum, New York, 
will sliow. 



Courtesy of \'itc York Eveiiini WorUt. 

shoulders give one an ap- 
pearance of being taller than 
sloping shoulders, and the 
higher the waist line the 
greater the apparent height. 
A narrow belt makes the 
waist appear smaller and 
longer, whereas a wide girdle 
gives the appearance of a 
broader, shorter waist (if 
above the waist line). 
Over-decoration is always bad. 
Broken line effects are always bad. 
(As, for example, waists and skirts with 
seemingly no connection.) 

A continuation of waist line into the 
skirt is good. 

Light colors near the face are good. 
When one striking note of color is used 
(as in a belt), it should have a repetition 
elsewhere (as in a touch on the sleeve 
and waist). 

41. Sources of Designs. Bearing the 
foregoing facts in mind, we may draw our 
inspiration from museums, libraries, things 



* Never mix scale in design. 



SOURCES OF DESIGNS 



Page Seventv-seven 



in nature, or from any source that appeals 
to us, anil start our design. See Fig. 101 

Fig. 100 shows us how 
Mile. Jacqueline fovind 
her inspiration for a hat 
in a howl of tulips. As 
for the first prize evening 
dress of the Thucs Prize 
Contest Jur Original Amer- 
ican Designs, made by 
the writer and shown by 
Fig. 10'2, the Times has 
given the following de- 
scription of its source. 

Wliistler s well-known Nocturne 
fnniislied tlie inspinition for tliis 
exi'iiitijj gown, which owes its 
clislnK-tion to subtlety of color 
and graee of line. It is, unfortu- 
nately, impossible in a sketch to 
do justice to the extraordinary 
feeling for color which the de- 
signer has shown in her selection 
and handling of materials, he- 
cause she has obtained her etl'ect 
by using semitransparent color 
over contrasting color. 

Hhe has secured .a faithful echo 
of the Nocturne's blue-green, 
gray-brown harmonies by laying 
pastel-blue chiffon, faintly green 
tinged, over putty color. The 
girdle is in .a deeper green-blue 
and its Oriental embroidery is 
ivorkeil out in blues and gold and 
the vivid flame color of whiih 
there is one single glint in the 
AVhistler picture. 

.Another note of blue is sounded 
in the necklace of wooden heads, 
the smaller beads catching up the 
wing shoulder draperies. 



The waist made for the 
Ladies' Home Journal, 
shown in Fig. lO.^, was 
suggested by the Lily of the \'alley. Fig. 
99, Pattern No. 8082, in the Criterion, 

* Paul Poiret truthfully says "There arc gowns whir-li express jov 
gowns romantic; gowns full of mystery; and gowns ftr the TlilrJ Act.' 



Is was adapted from an Arizona pine, and 
Fig. !)!), Tat tern No. 807!), from a Ilopi 
Indian woman's dress. 

If the designer's imag- 
ination needs stimulating 
to get away from the 
commonplace, see what 
music or poetry will do 
to help. Notice how, 
when either are sad, one 
thinks in subdued grays 
and violets and dull blues; 
when they are joyous, 
pinks, yellows and less 
somber colors come into 
one's mind.* 

The designer has such 
an immense store-house 
from which to draw that, 
when his eyes are once 
opened to the endless 
treasures that are wait- 
ing to insjjire him, his 
world is as fidl of wonders 
as the vaulted chambers 
of the Forty Thieves, or 
the untold treasures in 
the cavern of Aladdin. 

Appreciation is needful 
and it is necessary to 
gain this love and under- 
standing of the beautiful 
which really comprises 
what we call taste. We 
should know something 
of the art of the past 
as well as the costumes 
of lliese periods, so rich 
in material is that of the 
Egyptians, Greeks, Ro- 
mans, Assyrians, and Byzantines, as 
well as that of the cruder times of the 




Couruay of A etc York Times. 
Fic. HH. — Design for an evening dress in- 
spired by'".\ .Nocturne" ill Tate Gallery 
by Whistler. 



)f life; those wliich announce catastrophe; gowns that ween: 



Page Seventy-eight 



DESIGN 



Gauls and Franks. Beginning with the 
French costumes of the fifth century 
and the Enghsh after the Norman Con- 
quest in the eleventh century, we come 
down the centuries with a wonderful un- 
folding of both beau- 
ty and eccentricity of 
design. 

There are many 
wonderful costume 

books that may be ^ 

consulted by the 
designer with both 
enjoyment and profit. 
A fairly compre- 
hensive list of these 
will be found on 
pages 127 and l^S. 

42. Hats.— When 
seen from the side, 
the lines of the crown 
of the hat should not 
extend beyond the 
line of the forehead 
nor bej'ond the hair 
in the back. If the 
hair extends far in 
the back, the hat 
should come between 
the head and end of 
the hair in order prop- 
erly to balance with 
the spinal colunm. 

People with small 
or narrow faces 
require smaller hats than those with 
large faces, to whom larger hats are 
becoming. Care should be taken not to 
accentuate undesirable lines or features 
by too strong repetition or opposition. 
Try rather to neutralize such. 

The milliner's problem is allied to that 






Courtt:^ij oj LadUs' Home Jvunuil. 

Fig. 103. — Green and white blouse inspired by a lily 
of the vallev. ' 



of the sculptor in so much as the effect 
is to be viewed from every side and, ac- 
cording to Beau Brummel, the most 
important part of a woman's hat is the 
back. Beside this, the laws of propor- 
tion demand that we 
consider not alone 
the relation of the 
hat to the head, l)ut 
also the relation of 
till' head and hat to 
the entire figure. 
(For illustration, 
headgear too large 
for the figure gives 
a clumsy, awkward 
ajipearance.) 

Thus, no matter 
what fashion decrees, 
the law of proper 
proportions for every 
individual should be 
sought out and 
obeyed, even if it 
brings about a dis- 
agreement with the 
prevailing motles. 

43. Designing 
Hats.— The height 
of any hat, generally 
speaking, should not 
be more than three- 
quarters the depth of 
the face. (That is, 
the length of the face 
from the chin to the eyebrows.) The 
greatest width of a wide hat should not 
exceed three times the width of the 
wearer's face, including the ears and the 
hair at the sides of the head. The greater 
width is often at the left side. 

The crown of a hat is very important 




DESIGNING HATS 



Page Seventy-nine 



and must appear to cover the head and of clothes as studies In the flat and must 
also any putVs of hair. People with large aim to make them jjjease from every 

side. At the 
same time we 
must not lose 
sight of unity 
and must never 
let distracting 
details interfere 
with the centre 
of interest 
which is usually 
the head. In 
other words, we 
should aim to 
make pernunaUty 
d o m in ate the 
clothes. 

For a most 
telling illustra- 
tion of this 
last point, 
study the paint- 
ings of Rem- 
brandt. Note 
how all his 
w o n tl e r f u 1 1 y 
thought-out 
textures and 
tones of gar- 
ments are made 
subservient 
to his char- 



heads should 
not wear hats 
with small 
crowns. On the 
other h a n d, 
people with 
long, thin faces, 
a n d p 1 a i n 1 y 
arranged hair 
should not wear 
hats with 
crowns wider 
than the width 
of their faces 
and hair. If we 
are ever to 
overcome our 
broniidic ten- 
dency in dress, 
we shall have 
to cultivate an 
appreciation of 
personality and 
character and 
become so in- 
terested in type 
that we will 
resist our hith- 
erto sheep-like 
tendency to 




Courtesy u/ Xtir York Globe. 
i ic. 104. — Drawing in which wash pencil, crayon pencil ami |)en 
and ink are combined. 



follow the 

modes, even when they distort and cari- acterization, how all these lead up to the 

cature us. head and face and seem arranged to per- 

The designs shown in Fig. 10-i were fectly reveal the individuality of the 

made by Kelly for the Globe. In designing sitter, his occupation, his walk in life, and 

we must get away from the consideration his inmost character. 

Scale must be considered in the combination of textures, for instance crystal bugles and pearl trimming 
that could be .successfully combined with delicate chiffons or silk would be wholly inappropriate with serge, while an 
Indian bead ornament that would be suitable with the serge would be out of place with the chiffon. Fluffy chiffon and 
lacy things or baby oinks or blues are out of place with tailored or mannish things. These points should be given 
serious consideration in connection with such accessories as parasols, hat.s, shoes, gloves, jewelry and dress trimmings. 

Some books that bear directly on designing are Principlr.i of Comet Dress by I'lorence Hull Winlerburn. Color Harmo- 
nies in Dress by G. \ .\udsley, W'hiii Dress Makes of I's by Dorothy Quigley, Texlile and Costume Designing by Elliswortli. 




FLORE" 



Rob© d inteneur 

Courtesy of Vogue. New Yort revresentatUe of the Gazette du Bon Tou 
From a color illustration by George Lepape. 



THK FASHION SILHOUETTE 

C H A P T E U SIX 



CHAPTER SIX 



THE FASHION SILHOUETTE* 




Fig. 105. — The gorget. 



44. Value of the Silhouette.— The Sil- 
houette is the foundation of all fashions, 
and it is most interesting to study its 
varied aspect through the centuries. Taken 
in a literal .sense, it so simplifies the cos- 
tumes of the period 
that the many errors 
now seen in the cos- 
tume world are un- 
necessary to even the 
novice. Much less 
necessary are the glar- 
ing mistakes we now 
see in print in regard 

to Moyen Age and Renaissance costumes, 
as well as those of the eighteenth and 
nineteenth centuries, that period of nuich 
uncertainty about the hoop and Empire, 
the crinoline and bustle. For 
this reason it seems advantage- 
ous, as well as interesting, to 
become thoroughly familiar with 
costume silhouettes of all ages. 

The silhouette classifies, sim- 
plifies, and so condenses details 
that both time and trouble are 
saved. Curiously enough, this 
saving is what its name sig- 
nifies, as it is taken from the 
name of Etienne de Silhouette, 
Minister of Finance to France 
in 1759, whose public economy in trying 
to avert national bankruptcy during the 
reign of Louis XV caused his name to 
be given to things ostensibly economical. 

45. Twelfth to Fifteenth Centuries.— 
To l)egin with, lei us ghince at Fig. 110, 
starting with the twelfth and thirteenth 




Pig. 107.— The 
wimple. 




Fig. lOG.— XV Century 
horned head-dress. 



centuries (the tenth and eleventh were 
so nearly like the twelfth and thirteenth 
that drawings are omitted). 
The effect is of everything 
lumg from the shoulder 
and all garments rather 
loose. The head was usually 
more or less bound or wrap- 
ped around, though at 
certain times in certain 
localities the hair was worn 
in long braids. The four- 
teenth century shows the 
innovation of scallops, the 
fifteenth the increased length of hats and 
■shoes, but in spite of these touches all 
belong to the Moyen Age, to things that 
are Gothic. 

It is interesting to see these 
clothes so beautifully described 
in the Gothic Tapestries and 
illuminated books of the time 
and the effigies in churches. 
See Fig. 108. In the eleventh 
century the wimple was wound 
around the head, not allowing 
the hair to show; about a 
hundred years later came the 
fashion of the chin band and 
forehead-strap. See Fig. 107. 
The hair was still hidden by the 
A hundred years later and this 
earlier headdress had been followed by the 
gorget — a piece of linen wrapped about 
the neck halfway framing the face. See 
Fig. 105. Around the wimple was some- 
times tied a silk band called a snood. The 
gown was still long and loose at the waist 



wimple. 



"This chapter is reprinted througli courtesy of the New i'orlc Globe. 



Page Eighty-four 



THE FASHION SILHOUETTE 




Fig. 108.— Showing the houppelande or XV Century robe. The Giving of the Rose, a Gothic decorative 

tapestry at MetropoHtan Museum. 



with sometimes a girdle, remtiining so 
until the fifteenth cenlury. 

46. Religious Orders. A pictiuesc|ue 
touch of this early costume may be noted 
today in the dress of the nuns and sisters. 
The Dominican nuns wear practically 
the same garb as when their order was 
in.stituted by Saint Dominic in 121S, 
including the rosary, which was his in- 
novation. INIany religious orders were 
founded in the eleventh, twelfth, thir- 
teenth, and fourteenth centuries as, for 



example, the Sisterhood of the Annunci- 
ation at Bourges by St. Jeanne de Valois, 
daughter of Louis XI of France. Today 
they bring to us the legend, beauty and 
romance of those dark ages. They breathe 
castles, crusades, monasteries, and con- 
vents. 

In the fifteenth century, as the pointed 
arches of the Gothic architecture grew 
more pointed, the head covering or hen- 
nens (see Figs. 106 and 110) as well as 
the shoes followed suit, so that in this 



SIXTEENTH CENTURY 



Page Eighty-five 



century came the high-water mark cf 
extremes. To this day we find k'ft o\er 
traces of these headdresses in some of the 
costumes of the 
peasants in re- 
mote districts on 
the continent. 

47. Sixteenth 
Century. — The 
sixteenth cen- 
tury found 
great changes, 
on sea and land. 
Printing had 
been invented, 
America had 
been discovered 
and the first 
watches made. 
The silhouette 
was greatly 
changed. The 
Renaissance 
changed the 
architecture of 
dress as well 
as of every- 
thing else. AJ- 
brecht Diirer 
has left us 
won d er f ul 
contemporary 
sketches of the 
early part of 
this century, 
the originals of 
which are in 
Nuremberg, see 
Fig. 109. 

We are all familiar with the slashed 
sleeves of Henry VIII and his queens 
(1509-1547) immortalized in the portraits 




by Hans Holbein. There was a stiffening 
of the figure and a tendency toward the 
smaller waistline in the sixteenth century. 

It might be 
well to say 
here that in the 
I twelfth centiuy 
lacing is sup- 
posed to have 
come in. Cal- 
throp tells us 
in his history 
of English 
Costume, "Not 
that the lacing 
was very tight, 
but it com- 
menced the 
habit and the 
habit begat the 
harm, and the 
thing grew un- 
til it arrived 
finally at the 
buckram, 
square-built, 
cardboard-and- 
tissue figure 
which titters 
and totters 
through the 
Elizabethan 
era." Up to the 
fifteenth cen- 
tury is notice- 
able a sense of 
looseness, of 
everything 
being more or 
less supported from the shoulders, giving 
the straight lines of the middle ages. 
The fifteenth century was transitional; 



Courtesy of Art Student Magazine. 
Fig. 109. — Late XV Century costume drawing by Albreclit Diirer. 



Page Eighty-six 



THE FASHION SILHOUETTE 



itmm 



Fig. 110. — How the different centuries affected the fa.shion silhouette. 



Draim by Inez Casseau. 



after that the tight, long waists and women of that day. The Puritans and 

wide skirts came to stay until the nine- Pilgrims both are distinguished by the 

teenth century brought in the Empire costumes prevalent at the time they were 

style. organized (period of James I, 1603-1625, 

48. Seventeenth and Eighteenth Cen- and Charles I, 1625-16-t9, of England). 



turies, — The Eliza- 
bethan high collar was 
the forerunner of the 
Charles I (1625-1649) 
flat collar and cuffs 
of which the Crom- 
wellian period (1649- 
1660) was a simplifica- 
tion. The drawings 
of Hollar give excel- 
lent illustrations of 
these. The Quaker 
dress is the survival 
of the costume of 
Charles II period 
(1660-1685), although 
the hat is minus the 
feather — plain linen 
takes the place of 
lace. The shoes are the 
same, but without the 
ribbon or roses, really 
similar in every way 
with the extravagance eliminated and 
simplicity emphasized. The beaver hat 
and hood of the Quaker, then called the 
French hood, were both worn by the 




Fig. 111. — Early XVI Century fashion drawing by 
Hans Holbein. 



The portrait painters 
have done nobly in 
preserving for us the 
fashions of the times 
through the costumes 
worn by their distin- 
gui.shed sitters. Such 
men as Velasquez, Van 
Dyck, and Rubens in 
the seventeenth cen- 
tiny, and in the eigh- 
teenth Watteau, 
Fragonard, Nattier, 
Romney , Gainsborough, 
Lawrence, Raeburn, 
and Sir Joshua Rey- 
nolds have left us 
valuable documents. 

Thus we pass 
through the sixteenth 
and part of the seven- 
teenth centuries, 
leaving the time of the 
Renaissance for the period of the Louis of 
France. The stately dignity and truly 
roya' magnificence of Louis XIV was fol- 
lowed by the less formal but luxurious 



NINETEENTH CENTURY 



Page Eighty-seven 




Fig. 11^. 



Courtesy of London Graphic. 



rococo period of Louis XV (17'23-1774), 
when Pompadour and du Barry set the 
styles in the Parisian world of fashion. 
Then followed the reapjiearance of the 
hoop and the more extreme though re- 
fined attitude toward dress during the 
reign of Louis XVT and Marie Antoinette. 
Li England at this time George III was 
reigning (17G0-18''20) and the Shakers 
came to this country 
wearing what con- 
stitutes their cos- 
t ume to-day — the 
wide, pleated skirt, 
bonnet and apron 
of the English work- 
ing class. 

49. Nineteenth 
Century. — The 
third great change 
in the silhouette did 
not come until the 
Directorate in 179.5, 
so that the early 
nineteenth century 
found the narrow skirts anfl short waists 
conspicuous. See first silhouette of Fig. 
1 1'^. Jacques Louis David, the court painter 
of Napoleon, was a strong influence in 




Fig. 113. — Qiiaiut styles of Kate Greenawa 



the classic revival of the Greek and 
Roman, modified to suit the climate and 
epoch. This revival was the natural out- 
come of the interest people were taking 
at that time in the restoration v/ork of 
the buried Ponipeian cities, and one 
sees in the Empire style the classic type 
emphasized. It was an endeavor for 
something difTerent, something essentially 

new, for anything 
suggesting the 
former royalty was 
frowned upon by 
Napoleon. It is in- 
teresting to note 
that it was back to 
this quaint period 
that Kate Green- 
away (1846-1901) 
loved to go for in- 
spiration. It was 
she who revived 
these costumes of 
the beginning of the 
nineteenth century, 
and it is truthfully said in this style, made 
still more beautiful by her naive touch, she 
did dress, and still dresses, the children of 
two continents. See Figs. 113 and 'i'i. 



Page Eighty-eight 

^Ye have left now the hoop of the 
eighteenth century, and have come to 
the nineteenth century with its J^nipire 
and charming 1830 costume, which always 
makes one think of nosegays and old- 
fashioned valentines (see Fig. 112) and 
the crinoline of 1840, which made the 
skirt grow wider until 1864. (To get the 
atmosphere of this time, look at George 
Du Maurier's illustrations of Owen Mere- 
dith's "Lucile.") Fashion then took a 
turn and the skirt began in 1865 to grow 
narrower until in the winter of 1869-1870 
the bustle and the draped skirts appeared. 
In this one century, therefore, with its 
narrow skirts, its bell skirts, its wide 
skirts, its bustles, and its draped skirts, 
there were really many more definite 
changes than in the ten centuries of sil- 
houettes we have been examining. 

While speaking of skirts, small mention 
has been made of sleeves, but they sil- 



THE FASHION SILHOUETTE 

houette quite as well as the other parts 
of the costume, with even the added in- 
terest of the fact that down through the 
centuries the sleeves of men and women 
were very much alike, no bigger no 
smaller, until the nineteenth century, when 
the leg-of-mutton .sleeve was affected also 
by men. That seems to have been, how- 
ever, the time of emancipation, for then 
men's sleeves became small and have re- 
mained so ever since. 

The thirty beautiful little period dolls 
in the Metropolitan Museum illustrate 
how truly the silhouette has kept for us 
the fleeting shadow of the passing cen- 
turies. Let us then not deny or push 
aside the silhouette as of small importance. 
Historically it is valuable, and the paths 
it leads us through in the study of cos- 
tume are full of beauty and varied interest. 
It is with the silhouette in mind that we 
should observe every fashion. 



\imm 



1100 1330 



How different cenluries have affected the silhouette of men. 



Draini by Margaret Calderticad. 



PERIOD FABRIC DESIGN 

CHAPTER SEVEN 



CHAPTER SEVEN 



PERIOD FABRIC DESIGN 



50. Primitive Design. — Primitive de- 
sign, often so fresh and simple in treat- 
ment and character, does not differ much 
in units. The United States Government 
jjubhshed in 189-i a report that the results 
of its researches showed 
tliat tlie sane swasticka 
used in prehistoric America 
had also been found in 
Intlia, Eastern Turkestan, 
Northern Europe, Southern 
Euro p e, A s i a M i n o r, 
Greece, Rome, Northern 
Africaand Byzantium. So 
much symbolic significance 
is often attached, or some 
strict religious meaning, 
that design is a deep and 
interesting subject from an 
ethnological point of view, 
but "simple pictorial ex- 
pressions are of world 
usage and are not suffici- 
ently intricate to consti- 
tute original thought." 
In these the student of 
design, however, can find 
splendid motives for mod- 
ern treatment. See Fig. 114. This ma- 
terial was designed from a unit on an 
Indian basket. 

51. Influence in Design. — We know 
that the earlj- civilized races had inter- 
course, and we see the influence of this 
in their designs. We find Greek influence 
in the art of China, and for hundreds 
of years B.C. the arts of Assyrians, Egyp- 
tians, and Persians were allied through 




Fig. 114 



wars and conquests, and their designs 
were often similar. 

The affinity between the Art of India 
and Japan is close on account of Bud- 
dhism, which exercises a strong influence 
over both peoples. The 
Art of Japan and China 
is also somewhat similar; 
indeed, at times the dif- 
ferences are difficult to 
determine. The Japanese 
have a greater love for 
detail and do not con- 
ventionalize in as broad 
a way as the Chinese, 
but many of their forms 
are identical. It is inter- 
esting to know that, where 
this is the case, the in- 
fluence can be traced to 
India. 

The Japanese in their 
designs show a great love 
for nature — flowers, moun- 
tains, waves, dragons, 
tortoises, etc., and the 
method used is usually 
picturesque (in spite of 
its interesting conventionality) instead of 
formal. 

52. Early Fabrics and Designs. — In 
outlining period fabric design, Egypt nmst 
first be mentioned, where weaving was 
known 3000 b.c. Examples of ancient 
fabrics dating as far back as 1000 b.c. 
can be seen in the Louvre, Paris. While 
we know that checkered rugs were woven, 
we find that garments during the Old 






Drawn nm! i.hs}tjneii hy G. Rufhscliild. 

Desifin motive from Indian 
basket. 



Page Ninety-two 



PERIOD FABRIC DESIGN 




Fig. 115. — Greek Doric 
costume from Hope. 



Kingdom, Dark Ages, 
Middle Kingdom, 
Poriod of Shepherd 
Kings, and New 
Empire, i.e., from 
2980 B.C. mitil 945 
B.C., were usually 
made of linen and 
wool, woven by hand. 
While the dyes used 
were principally red, 
blue, and saffron, 
white seems to have 
been most worn. The 
material was plain, 
the decoration, if any, 
being embroidery at 
the hem. While fond 
of ornamentation, the 
people during this 
time seem to have 
depended on their 



wigs and headdresses, collars, hanging 
straps, armlets, and leg decorations, 
and not to have introduced figures in 
their weaves. See Fig. 116. 

The Copts or Egyptian Christians, 
like the Greeks and Romans, wore 
wonderfully woven or embroidered 
bands on their garments, the color 
and designs of which are most inter- 
esting. Good examples are to be seen 
in the Coptic Room, Metropolitan 
Museum of Art, and in the Cooper 
Union Museum. 

53. Greek Dress. — The Greeks used 
wool linen, and silk. Linen and silk 
were used for the more extravagant 
costumes of the later period, though 
they had cotton in small quantities. 
Cotton belonged to India; it did not 
become known to Europe until the 



invasion of Alexander the Great. It was 
too expensive for large garments and was 
a deep yellow in color. 

The Doric and Ionic chitons, or dress, 
and the himation, or cloak, were used in 
different colors. Blue and Tyrian purple 
as well as red and yellow were popular. 
Different borders were often combined 
in the Greek costume with an all-over 
design. See Fig. 115. The designs were 
frequently emblems, and birds, animals 
or flowers. The garments were woven 
in one piece which was complete in itself. 
The long, graceful folds of this single 
garment produced a decorative and simple 
effect, and it is interesting to note also 
the different effects obtainable by chang- 
ing the position of the girdle. This was 
worn at the waist in the Archaic period. 




1 16. — Costumeof man and woman of Egypt about 2500 B.C. 
from Histoire de L'Art Egyptian. 



ROMAN DRESS 



Page Ninety-three 



over the hips in the Golden Age, and 
under the arms at the last period. 

Interesting and detailed accounts of 
Greek costumes may be found in Evans's 
Greek Dress and Edith Abraham's Greek 
Dress; good illustrations in Hope's Cos- 
tume of the Ancients. 

54. Roman Dress. — The Romans and 
Greeks importeil much material from 
Babylonia. Some of the silk is described 
as having a nap on both sides (velvet), 
and as gold, scarlet and purple in color. 
The Roman women wore a tunic, a stola 
(like the Grecian chiton), and a palla, 
which corresponded to a Roman man's 
toga, or a Grecian woman's hinuition. 
The Roman women added a ruffle to 
their dress which was often elaborately 
decorated. Silk was at a premium, but 
was frequently mixed in weaving with wool 
or linen. With the exception of more 
elaboration, the fabrics did not differ 
nuich from the Grecian. 




Fig. 




FlC. 117. — Italian XIV Century costumes from Jaoquemin. 



55. Influ- 
ence of the 
E a s t .— 
Fabrics 
seem always 
to have 
drawn their 
inspiration 
from the 
East. We 
fi n d the 
Gauls after 
the conquest 
of Caesar, 
55 B.C., 
adopting a 
somewhat 
m o d i fi e d 
form of the 
Roman cos- 
tume. The 
Franks in 
taking possession of Gaul gradually (from 
the third to the fifth century a.d.), while 
they did not part with their costume as 
a whole, the women retaining their veils 
for some ten centuries, adopted the Byzan- 
tine styles, for the Eastern influence of 
the Roman Empire continued after the 
arrival of the Franks. We find both men 
and women in the ninth and tenth and 
twelfth centuries wearing stuffs brought 
from the East, even after the art of 
embroiderj' became generally understood, 
and tapestry weaving and applique work 
was carried on in Europe. 

56. Weaving. — While mechanical weav- 
ing was done in Egypt 2000 B.C., the more 
complex use of the shuttles l)y v'n'ch 
figures were produced without embroider- 
ing was not known until 200 a.d. It was 
then done by the Syrian weavers in the 



118. — XIV Century parti-colored 
dresses — from .Jacqueniin. 



Page Ninety-four 



PERIOD FABRIC DESIGN 



Eastern Roman Empire. 
For many years the devel- 
opment of weaving was 
slow, and the repeat pat- 
terns were of the simplest 
kind. Ornamental silks 
were first produced in 
Europe 500 a.d.; they 
were Roman and Byzantine 




Fiii. liO.— XVI Century trunk 
motive. 

The design consisting of 
a circle or square frame 
developed in the first cen- 
tury; for the next five 
hundred years circles or 
squares, sometimes filled 
with Persian or Syrian 
floral detail, persisted. 
This same design was used 
for centuries afterwards for 
stained glass. 

About 400 to 000 a.d. 
broken circles came in, the 
upper and lower segments 
spreading out to form 
bands. Circles continued 



to the twelfth century. 
These were sometimes 
linked together, large circles 




Fig. 119.— XIII Century formal 
iTrrangement. 

being joined by small ones 
at points of contact, and 
the patterns often becom- 
ing cjuite elaborate. The 
Saracenic hexagon geomet- 




ricallj' arranged was also 
used. Up to the thirteenth 
century a formal arrange- 
ment was often followed, 
consisting of balanced 
groupings of birds, beasts, 
and men placed face to 
face or back to back. 




Fig. 



1'22.— XIV ami .\V Century 
animal arrangement. 



Fig. 1-21. —XVII an<l XVIII 
Century scroll motive. 



The ogival form is a 
form of design in which 
the joining circles are 
brought into acute juncture, 
forming ovals. This design 
came in about 800 a.d., 
and like most things that 
were pointed, it continued 
through the Gothic period. 

In 700 A.D. Spain was 
progressing with silk weav- 
ing. About this time also, 
merchants from Syria 
opened establishments in 
Paris. In 800 a.d., the 
Daughters of Charlemagne 



« 



USE OF GOLD THREAD 



Page Ninety-five 



did silk weaving, but iij) to llic eleventh strips of gilded parchment in plaee of 

century the making of fine fal)rie.s was rolled gilt thread. Undoubtedly through 

practically monopolized by Athens, Thebos, the influence of the Crusades, the Sicilian 

Corinth, and Constantinople. weavers of the thirteenth and fourteenth 

No great extravagance had reached centuries produced many fabrics enriched 



France before 
this. In the 
tenth century 
we read of its 
king, Cliarles 
the Simple, 
possessing but 
three shirts 
In the four- 
teenth century 
Isabeau de 
Baviere. com- 
ing to marry 
Charles VI, 
was thought to 
be showing an 
extraordinary 
degree of lux- 
ury in having 
three dozen 




with winged 
lions, crosses, 
crowns, rayed 
stars, harts, or 
birds, linked 
together with 
floriations or 
armorial bear- 
ings. See Fig. 
117. 

58. Parti- 
colored Dress. 
— The same 
influence 
which brought 



Courtesy oftJu M,:.. ,.^:j,ui Museum of An. 

Fig. 123. — P.iinfing by Hans Memling of Betrotli.al of .Saint Catherine 
sliuwiiig siircot and fabrics used in X\' Century. 



p e n d i c u 1 a r 
Gothic the 
introduction 
of heraldic 

cnemises in sliowing°surcot and fabrics" used in XV Century'. fomiS, SUcll aS 

her trousseau. shields, crests 

The return of the Crusaders initiated and badges, found women of rank wearing 

the nobilitj- of France into the luxury of parti-colored dresses; a division which 

the Orient. practically cut the figure in half, the right 

57. Use of Gold Thread. — Drawn gold side representing the arms of the husband, 

thread was not used in early fabrics, but the left that of the lady's own family, 

gold leaf on paper rolled around a fine See Fig. 118. 

thread of silk was employed. Sicilian Late in 1200 a.d. this character of 

fabrics of the thirteenth and fourteenth design was introduced into Northern Italy, 

centuries frequently show a purple ground Genoa adopted much that was Persian 

of twilled silk with birds and foliage from the twelfth to the seventeenth 

formed by gold thread weft. Saracenic centuries, and in the fifteenth century, 

or Hispano-^NIoresqne fabrics of Spain are when Louis XI encouraged the art of 

distinguished by splendid crimson or dark weaving in France at Tours, and later 

blue conventional patterns of silk upon at Lyons under Francis I (151o), the 

a yellow ground, and by fretjuent use of Persian and Italian fabrics were closely 






Page Ninety-six 



PERIOD FABRIC DESIGN 



followed, and the vase pattern was 
adopted. 

The Oriental character of design in 
textiles did not entirely disappear until 
the seventeenth century when the gardens 
of Versailles and the Trianons under 
Louis XIV inspired the use of European 
flora. 

59. Classification of Fabric Designs. — 
The following brief classification will be 
found helpful in placing fabric designs 
in their proper periods. 

Twelfth and thirteenth centuries, for- 
mal arrangement. See Fig. 119. 

Fourteenth and fifteenth centuries, ani- 
mal figures. See Fig. 1'2'2. 

Sixteenth and seventeenth centuries, 
trunk motives. See Fig. l'-20. 

Seventeenth and eighteenth centuries, 
scroll motives. See Fig. 121. 

For a more detailed outline we can refer 
to that given by Clifford, in his book on 
Period Furnishings, in conjunction with 
his well-chosen illustrations. 

"I. 200-400 A.n. The development of 
circle and geometric frames, sometimes filled 
with simple floral, bird or animal forms. 

"II. -400-000 A.D. The utilization of 
broken circles spread out to form bands. 

"III. 600-1000 A.D. The use of circles 
linked by smaller circles, with ornaments 
inside and out, developing at length the 
ogival form; often hexagon framework. 

"IV. 1000-1350 A.D. Repeated parallel 
bands or ornamentation, detached details, 
patterns animated and inanimated, en- 
closed in ogival framing and combination 
circles or scale patterns as well as geo- 
metric straight-line framing. 1200-1300 
introduced features of design, as eagles, 
falcons, etc. 



"V. 1350-1500. A characteristic design 
of the fifteenth century was the use of 
reversed curves so arranged that they 
made frames. (The panels of Jeanne 
d'Arc, painted by Boutet de Monvel and 
owned by Senator William A. Clark, give 
very fine illustrations of the textures used 
at this period; they may be seen certain 
days upon written request. Both the 
surcot, which was now gradually disap- 
pearing, ami the Jioiippelande, or robe, 
which was appearing, lent themselves 
magnificently to these fabrics.) 

"This form utilized the Hogarth line of 
beauty. Another form was the inter- 
section of a Hogarth panel by two bold 
curving stems coming up through the 
bottom of the panel and capped by a cone 
pineai)j)le or fruit device. 

"Still another showed a serpentine stem 
or winding trunk which ran through the 
Hogarth pattern in the midst of a variety 
of botanical forms. See Fig. 123. 

"VI. 1500. Designs adopted a free treat- 
ment. The ])lans of previous centuries 
were combined and elaborated. Orna- 
ment was arranged with ogival frames, 
springing out of the frame to which it 
seems to be attached. Interlacing of 
two frames of which one is ogival. Ogival 
frames of leaves and flowers enclosing a 
large concentric pattern. Elaborate ogival 
frames caught together by crowns. The 
use of vases, urns, crowns and animals 
became common. 

"VII. KiOO-lTOO. During this time we 
find an elaborate use of European garden 
flowers instead of purely tropical Persian 
verdure, following, however, the general 
ogival form arrangement. 

"VIII. 1700. Pictorial tapestries and 
prints. Pure Renaissance styles, or devel- 



SIXTEENTH AND SEVENTEENTH CENTURIES Page Ninety-seven 



opnients of that style. Louis XIV or XV. 
Oriental characteristics of either the 
Frencli or English styles as shown in the 
scenic bits of Chinese or f^ast Indian life. 
Louis XVI classic revival examples as ex- 
pressed by the late Louis XVI. 

"Directoire or Transition period in 
France and the Adam school in England. 
Tiiis period overlapped into 1800 and was 
generally adopted in American colonies. 

"IX. Empire and Emi)ire influence." 

60. The Sixteenth and Seventeenth 
Centuries. — In the sixteenth and seven- 
teenth centuries, three distinct types of 
design were seen, the Renaissance, the 
Oriental Renaissance and the European 
floral. The Renaissance brought a change 
from the accustomed following of Persian 
Oriental design, and such motifs as the Per- 
sian rose and pink, the Rhodian lily and 
pomegranate gave way to such Egyptian, 
Roman, and Greek motifs as the Anthe- 
mion, Acanthus, Lotus and Iris. The 
second or Oriental Renaissance was really 
Portuguese-Persian, or the spirit of the 
Renaissance influencing the East through 
commercialism. The third or European 
flora was developed about 1650 during 
the reign of Louis XIV, when the ferns and 
flora of the Royal Gardens came into use 
as motifs. 

In studying the periods it must not be 
overlooked that the Dutch brought East 
Indian types into England under Elizabeth, 
the Jacobean, and Queen Anne reigns, 
and that the influence of China was 
strong in France during the reign of 
Louis XV, and in England under the 
Georges. The East India Company in 
1609 reserved all strange fowls and beasts 
to be found there, "for the Council." 



This brought the parrot and cockatoo in 
wicker cages, and similar motifs, much into 
evidence in the embroideries and printed 
fabrics, so full then of animal and floral 
design of Eastern character. The British 
rule in India created a demand as early 
as 1700 for Indian goods, and India cot- 
tons, dimity, and gauze were used in both 
England and France. 

61. Paris Becomes the Centre of 
Fashion. — For centuries Italy was the 
centre from which foreign courts adopted 
both fashions in clothes and customs. 
It was not until the seventeenth century 
that Paris became the centre and home of 
taste. Several things had nmch to do 
with bringing this about. First, a great 
and appreciative impetus was given in- 
dustry by Colbert, the able minister 
of Louis XIV. Secondly, at this time 
long dresses were abandoned and the 
vogue for large Italian patterns ceased. 
Thirdly, the discovery of a way around 
the Cape of Good Ho])e had much to 
do with the trade in silks turning from 
Italy to Asia. 

Under Louis XIV artists held high posi- 
tion; it was an ambitious period. World 
forces, conquests and statecraft, as well 
as the taste of Louise de la Valliere, Ma- 
dame de Montespan, Mile, de Fontanges 
and ]Madame de Maintenon influenced the 
arts of the time. The magnificent gardens 
that were built, besides the motifs sug- 
gested by European floriculture, l)rought 
in festoons, vases, architectural designs, 
etc. It was under this king and his 
minister, Colbert, that the highest achieve- 
ment in lace making was reached in 
France. Lace is supposed to have been 
introduced into France by Catherine de 
Medici, wife of Henrv II. in 154:7. 



Page Ninety-eight 



PERIOD FABRIC DESIGN 



On the other hancU the arts of Louis 
XV had the stinuihis of social life, and 
were full of ostentation and extravagance. 
We find much less symmetry or balance 
in the motifs, which were shells, feath- 
ers, ribbons, knots, garlands, and Chinese 
and Japanese fancies. Pronounced stripes 
were affected as creations of ^latlame 
Pompadour, and many charming gowns 
were made of the flowered silks named 
for this favorite of the King. 

62. Period of Louis XVI.— By the end 
of the eighteenth century heavy materials 
had fallen from favor and less metallic 
effects were sought in weaving, but 
oriental foliation, which was used be- 
fore and during the Renaissance, again 
came in. 

Under Louis XVI the designers fol- 
lowed innumerable paths under the im- 
pulse of capricious fashion. We have 
Arabesque composition, foliage, flowers, 
figures, landscapes, country scenes, alle- 
gories and Chinese ornament. 

In the fabrics we find stripes and rib- 
bons combined with flowers. Stripes were 
so much used that in 1788 it was said that, 
"Everybody in the king's cabinet looks 
like a zebra." Unlike the Pompadour 
stripe, the Queen Marie Antoinette stripes 
were interwoven with flowers and orna- 
ments such as feathers, medallions, lyres, 
columns, etc. ]\Iarie Antoinette liked 
flowers, the pink, the tulip, but best of 
all the rose, and the imjjetus she gave the 
production of lace in the beginning of 
her reign shows the influence of her taste, 
which is everywhere seen in the entwined 
ribl)ons and garlands. 

63 Directoire and Empire Designs. — 



The Revolution, 1789-99, brought in 
simpler materials; cotton, India prints, 
and lawn were used. Colbert had j)ut a 
stop to their use in former years because 
it threatened his pet silk industry. 

The Directoire, 1795 to 1804, followed 
this Revolution, and this was the tran- 
sition period between the classicism of 
the late king and the stronger style of 
the Empire. The India shawl — introduced 
after the Egyptian campaign — was much 
worn. This led to a French imitation and 
then to the Paisley copy nuide in Scotland, 
the Persian design of which has been so 
poi)ular. 

The transition period was largely in 
combination with much that was Egyp- 
tian in character. The bee, laurel branch, 
wreath, helmeted warriors, etc., were now 
used as motifs and stripes were still 
popular. This had marked influence and 
effect upon laces now wholly lacking in 
freedom of design. 

The costume of the Empire was usually 
more or less Oriental in ornamenta- 
tion, texture, and color. Napoleon's cam- 
paigns resulted in bringing into Erance 
the accunuilated treasures of centuries, 
which became a source of inspiration, 
and left a characteristic imprint upon 
the period. 

Eabric design reveals much of the his- 
tory and atmosphere of each century and 
is worthy of intelligent study and con- 
sideration, not only by students, but by 
all who wish to develop their knowledge 
and appreciation of beauty. 

See Die Gewebe Sammhing des Kunst- 
gewerhe Museum von Julius Lessing, and 
Seidenwehcrei, Otto von Eunke. 



OUTLINE OF HISTORIC COSTUME 

CHAPTER EIGHT 



CHAPTER EIGHT 



OUTLINE OE HISTORIC COSTUME'. 




History and Dress 

64. Egyptian Costume. — («) Men. (1) 
Old Kingdom, -Itli. 5th, and (»th Dynasties 
(2980-'2-i75 B.C.) . Memphis, capital. 

Lower classes wore a belt tied 
around the waist with hanging 
ends down the 
front (see Fig. 
1^27), a kilt-like 
loin cloth (see 
Fig. VIQ), or a 
skirt apparently 
made of rushes 
(see Fig. 128). 

In the 5th 
Dynasty, trian- 
gular erection 
came in, being 
temporarily 
adopted by the 
king in this dy- 
nasty. See Fig. 
124 of Perneb, 
representing an 
Egyptian noble- 
man in full dress. 
Both men and 
women shaved 
their heads and 
wore wigs. Men 
appear to have 
gone nude when 
engaged in stren- 
uous exercise. 

(2) Dark 
Ages, 6th to 
12th Dynasty. 
No change in costum 

(.S) Middle 



Courtesy of Afetropotttan Museum. 
Fig. hii. Fig. 12.5. Fig. 126. 

Egyptian costumes. Showing a woman's costume, the triangular 
erection and tlie leopard skin worn by priests. 




Fig. 127. 
The costumes worn 



.shown. 
Kingdom, 12th and i;3th 
Dynasties (2160-1788 B.C.). Thebes, capital. 



Skirts became longer and narrower, 

and were closed in front, with one 

side lapping over the other. When of 

transparent material, a skirt of 

thicker material in the shape 

of the short kilt of the Old 

Empire was worn 

underneath. 

(4) Period of 
Shepherd Kings, 
13th to 18th 
Dynasty. Israel- 
ites came down 
into Egypt. 

No change in 
costume shown. 

(5) New Em- 
pire, 18th, 19th 
and 20th Dy- 
nasties (1580-94^; 
B.C.). Thebes, 
capital. 

In the 18th 
Dynasty a tunic 
was sometimes 
added. This was 
open on the 
right side and 
had a short left 
sleeve. 

ISIany changes 
in skirt s now 
took place, plait- 
ed effects be- 
came popular. 
See Fig. \3\. 

Cloaks were 
the 4th Dynasty, 
used during the 



Courtesy of AfetropoUtan Museum. 
Fig. 128. Fig. 129. 

1)V men in Kgvpt during the Old Kingdom 
(2'J80-247.i' B.C.). 



worn from the time of 
but became generally 



Middle Kingdom. See Fig ^^0. 



Page One Hundred Two 



OUTLINE OF HISTORIC COSTUME 



Apron-like decoration 
was worn from the 4th to 
the 20th Dynasty. Men 
wei'e clean shaven, and wore 
wigs and false beards. Ker- 
chiefs were often used. 
Leopards' skins were worn 
by priests. See Fig. 12(5. 

' (6) Women.— 4th to 18th 
Dynasty. 

AH, with the exception of 
some servants and dancing 
girls, wore a simple costume 
from bust to ankles, very 
tight without folds, some- 
times held on by one, 
sometimes by two shoulder 
straps, and sometimes by 
a necklace. See Fig. 125. 
Embroidery was frequently used 

In the 18th Dynasty 
the dress was carried 
over the left shoulder, 
plaits became popular, 
and a left sleeve was 
introduced. In the 
20th Dynasty a thick 
under dress was used. 
White seems to have 
been in favor, also red, 
saffron, and blue. 

Both men and wo- 
men wore sandals in 
the street. The collar 
was an important dec- 
oration and was made 
of papyrus decorated 
with beads or embroi- 
dered in wool. 

Bracelets and leg 
decorations were 
largely used. These Fig. 




Courtesy of Mctropoiilan Museum. 
Fig. 130. — An Egyptian cloak. 



on borders. 




Courtesy of Metropolitan Mxiscitm. 
131. — Plaited efferts of the New Empire 



were of metal and em- 
broidery. 

(f) Emblems or Symbols. — • 
Upper Egyptian crown, 
red. 

Lower Egyptian crown, 
white. 

When one king ruled 
!)oth, he wore a combina- 
tion of the above. 

Lotus signified abun- 
dance. 

Globes signified eternal 
life. 

Vulture signified the roy- 
alty of a queen. 

Asp signified the kingly 
authority. 
Hanging straps indicated authority. 

Reference Books 

Bulletin of the Met- 
ropolitan Museum of 
Art, Vol. XI, No. 11, 
for Ancient Egyptian 
Kerchiefs, a n d TJw 
Dress of the Ancient 
Egyptians, both pub- 
lished by the INIetropol- 
itan INIuseum of Art; 
Prisse d'A venues, His- 
toirede L Art Egypt; The 
Book of the Dead, fac- 
s'mWcofPapyrusofAni, 
in the British Museum; 
Wilkinson, The Ancient 
Egyptian; Erman, Life 
in A ncicnt Egypt, Chap- 
ter X; Breasted, . 4 ??«Vn< 
Times: Racinet, History 
of Costume. 



GREEK COSTUME 



Page One Ilundied Three 



Ilisiory and Dress 
65. Greek Costume. — (1) 
Pre - Ilellenic ollifrwise called 
Minoan or Mycenaean Age 
('2800-1^200 B.C.). See Fig. 13^2. 
]\Ien wore waist cloth with 
hanging ends. Women wore 
tight-fitting waists and flounced 
skirts. See Fig. 133. 

(2) Homeric or Heroic Age 
(1200 B.C.). 

Both men and women wore 
a simplified costume not unlike 
the classic. 

Dorian Invasion, 8th century 
B.C. Rise of Sparta, inhabitants 
called Dorians. Rise of Athens, 
5th century B.C., inhabitants 
called lonians. 

(3) Classic Period. Costume 
of Greek men and 
women was the same 
except that of the men 
was more abbreviated. 

(a) Chiton or dress. 

(6) Himation or 
clnak. See Fig. 135. 

(f) The chlamys or 
short coat was worn 
on horseback. The 
chiton or dress was of 
two kinds. The Doric 
chiton, worn by the 
Dorians, who were war- 
like and interested 
primarilv in the phys- 
ical, made of heavy 
material and fell in 
few folds, had no 
sleeves, see Fig. 134. 

The Ionic chiton, 
worn by the lonians, yk. 





Courtesy of Mctrovolitnn Museum. 

Fig. 132.— Cost lime of 

Mycentean man. 




CouTtesy of illciropolican Museum. 
133. — Costume of Mycensean woman. 



a people fond of all things beau- 
tiful, made of finer material, fell 
in many and finer folds, had 
sleeves. See Fig. 135. 

Girdle was worn at the waist 
line during the Archaic jjeriod, 
sixth century B.C. Statues of 
people of this century adorn the 
Acropolis. This was the elabo- 
rate period when cascades of ma- 
terial are found in the statues. 
Girdle worn over the hip or 
below the waist in the Golden 
Age. This was sometimes called 
the Age of Pericles, 459-431 B.C. 
The maidens of the Parihenon 
frieze are of this time. 

Girdle worn under the arms 
diu'ing the last period. 

Wool, linen and silk were 
used, and the garments 
were dyed purple, red, 
yellow, and other col- 
ors. Sandals and shoes 
were worn when out of 
doors, and the women 
had many different 
kinds of jewelry and 
hair ornaments. 



Reference Books 

A Cretan Snake God- 
dess, Century Mag- 
azine, August. 1916; 
C.H.andH.B.Hawes, 
Crete the Forerunner of 
Greece; Hope, Costumes 
of the Ancients; Ra- 
cinet, Ilisfoire du Cos- 
tume; Evans, Gree^ 
Dress; Edith Abra- 
hams, Greek Dress; 



Page One Hundred Four 



OUTLINE OF HISTORIC COSTUME 





Fig. 134 

G. Baldwin Brown, Bur- 
lington Magazine of De- 
cember, 1905, and Janu- 
ary, 1906, How Greek 
Women Dressed. 



Coiirtfsj/ of Mctrn-politan Mu3eu7n. 
Greek Doric chiton. 



History 

66. Roman Costume. 
Rome founded 753 b.c. 

Rome was a kingdom 
753-509 B.C. 

Rome was a republic 
509-31 B.C. 

Rome was an empire 
3lB.c.-476A.D.inWest. 



Dress (Romaii) 

Men wore a tunic; a 
toga, or cloak corre- 
sponding to the Greek 
himation; but cut semi- pic iSO 



Courtesy of AfetropolUan Museum. 
Fig. 135. — Greek Ionic chiton and himation. 

circular in form, whereas 
the Greek himation was 
rectangular. 

Only Roman citizens 
could wear the toga, 
which was a national 
garment, so the pcrnula 
was worn by the work- 
ing class. This was 
like a cape, and some- 
times had a hood. This 
was worn by all classes, 
both men and women, 
to travel in. 

Women wore a tunic 
which was like that of 
the Roman men; a 
stola or dress corre- 
sponding to the Greek 
Ionic chiton (differing 
in that it had a border 
or ruffle at the bot- 

Frim Hope. 
-The costume of a Roman man and woman, tom) ; a paUa or cloak 




ROMAN COSTUMES 



Page One Hundred Five 



corresponding to (he Grecian 
hiniation. 

Women of tlie lower classes 
could not wear the stola; 
they wore tunic and palla, hut 
this i)alla was nuule like the 
Grecian Doric chiton. 

Roman men did not wear 
hats, except the lower classes, 
who wore tight-fitting caps. 
See Fig. 136. 

Roman women liad far more 
jewelry than the Greek. They 
had all the precious stones we 
now have. They dyed, ciu'led, 
and arranged their hair elabo- 
rately and wore sandals and 
fancy boots. They took ex- 
cellent care of their bodies. 

Books of Reference 
Racinet, Histoire du Costume; 




' From HoUenrotli. 
Fig. 138.— Gallic costume lio- 
fore coming under ]U)mau 
influence, 5 j.b.c. 



H()i)e, Cosfunir of the Ancients; 
Preston and Dodge, Family 
Life of Romans; Planche, 
General History of Costume in 
Europe. 

History and Dress 

67. The Gauls.— Caesar 
niatle a complete conquest of 
Gaul, 5o B.C. In ancient times 
the civilized races were un- 
trousered. (See Egyptians, 
Greeks, and Romans.) Un- 
civilized races were trousered 
(Gauls, Franks, etc.). 

(a) Men. — Wore trousers to 
the ankles, called hraie; a 
mantle of wool fastened in 
front, called sai; a tunic to 
mid-leg with long sleeves; 
girdles; shoes to ankles. See 
Fig. 137. 





Fr(mi Hottenroih. 

Fig. 137. — Gallic co.stume before coming under Roman 
influence, 5.5 B.C. 



yrom HoUenroth. 
Fig. 139. — Gallo-Roman costume 100 a.d. 



Page One Hundred Six 



OUTLINE OF HISTORIC COSTUIVIE 



Later the men shortened the trousers 
and tunic :iii(l wore leggins and sandals 
with bands. 

(b) TFomeH.— Inner tunic to ankles; 
short outer tunic with short sleeves; 
girdles; shoes. See Fig. 138. 

The women afterwards shortened their 
outer tunic and wore a mantle like a 
Roman ptenula. See Fig. 130. Both men 
and women made their hair red with lime 
water. 

About a hundred years after the Roman 
conquest, the Gauls had become civilized, 
and had adopted a dress somewhat resem- 
bling the Roman costume, but the Roman 
dress was also influencetl by that of the 
Gauls, as can be seen by the introduction 
of short trousers that were worn under 
the tunic. 

Reference Books 

Hottenroth, Le Co.sfumes chcz les PeupJes: 





From HottenTom. 
Fig. 141. — ^Women's costume of the Franks about 
Stii century, showing fichu and veil. 



Racinet, Le Costume 
llistorique; Zur Ge- 
schichte der Costume, 
Nach Zeichnungen von 
W. Diez, C. Frohlish, 
M. Heil, C. Haberlin, 
A. Muller, F. Rothbart, 
J. Waller Muchen. 



Fig. 140.— Men's co.'itume of the early Franks about 



From Hottenroth. 
5th to 8th century. 



History 

68. Third to Elev- 
enth Centuries. — 

530 .^ A.D. King 

Arthur in England 
m. Guinevere. 
871-901 A.D. King Al- 
fred the Great in 
England m. Ethels- 
witha, d. of Ethel- 
ran of Mercia. 



THIRD— ELEVENTH CENTURY 



One Hundred Seven 



742-814 A.D. Charlemagne m. Ist, Her- 
mengardg, m. 2d, Hildegarde, m. ;5(1, 
Fastrade, 4th, Liutgarda. 

276 A.D. The Frank.s came down the 
Rhine took possession of Gaul grad- 
ually, but made a complete conquest. 
The fifth century to the sixteenth 
century comprises the costume history 
of the Middle Ages. 

Dress (III to XI Century) 

(a) Men. — Wore a kind of tunic usually 
to the knee; mantle the shape of a cajie 
which often had a hood; girdle; shoes. 
See Fig. 140. 

(t) Women. — Wore, like the women of 
Gaul, two tunics, also a veil (sometimes 
large enough to take the place of a mantle). 
See Fig. 141. The women in England 
wore a similar head covering, called a 
wimple. 

The influence of the Eastern Roman 



Empire continued after the arrival of the 
Franks who had become well established 
by the sixth century. By the ninth cen- 
tury gloves and handkerchiefs were some- 
times used. The outer tunic of both the 
men and women was now often decorated 
with a band called a fichu. This was 
sometimes set with precious stones and 
showed Byzantine influence. See Fig. 142. 

Reference Books 
Zur Geschiclite der Costume; Quicherat, 
Histoire du Costume en France; Chal- 
lamel. History of Costume in France from 
Gallo-Roman to the Present Time. 



History 
69. Eleventh Century.— 
1066-1087 William the Conqueror, King of 
England, m. ^Mathilda, d. of Baldwin 
V, E. of Flanders. 
1087-1100 William II, King of England. 




From ZtiT Gt'schlchff (h r Costume. 
Fig. U"?.— French custunic of 9tli anci Kttli criitiirirs. 



/•Tom ZuT Ge3chicht€ der Costume. 
Fig. 143.— Kin^ and Queen of the llth century. 



Page One Hundred Eight 



OUTLINE OF HISTORIC COSTUME 



1031-1060 Henry I, King of France m. 

Anna, d. of Jaro.slaw I of Russia. 
1060-1108 Philip I, King of France, m. 

1st Bertha, d. of Florence I, C. of 

Holland, ni. 'id Bertrade, d. of Simon 

I, C. of Montfort. 

Dress {XI Century) 

In the eleventh century the influence 
of the Crusades began to show in costume; 
apparently the costumes of the Orient 
influenced costume and men adopted a 
very long and inconvenient type of dress. 

(o) Men . — Wore a long under tunic down 
to the feet called a chemise: outside tunic 
long and full called a bliaud (pronounced 
bleo). This was held in by a girdle. The 
bliaud had sleeves similar to those of our 
kimona (the extra fullness in the skirt was 
obtained by gores). See Fig. 143. 

1 rousers and stockings were worn 
underneath. 

The long mantle now worn was fastened 
often on the left shoulder; up to this 
time it had been more conveniently fast- 
ened on the right shoulder, giving freedom 
to the right arm. 

Men wore two kinds of hats, one that 
resembled a Phrygian bonnet, and a cap. 
Men and women now dressed much alike. 

Reference Boohs 
Hilaire Billoc, Book of Bayenx Tapestry: 
Racinet, Costume Uistorique: Zur Gescliichte 
der Costume: Planche, Dictionary and Cyclo- 
padia: Jacquemin, Iconograpkie du Cos 
tume; La Croix, Manners, Customs, and 
Dress During the Middle Ages and Renais- 
sance, and Ary Renan, Le Costume en 
France. 

History 

70 Twelfth Century.— 
1100-1135 Henry I, King of England, m. 
1st, Jlathilda of Scotland, m. 2d, 
Adelicia of Brabant. 



1135-1154 Stephen, King of England, m. 
Mathilda, d. of Eustace, E. of Bou- 
logne. 

1154-1189 Henry II, King of England, m. 
Eleonora of Aquitaine 

1189-1199 Richard I, King of England, m. 
Berengaria, d. of K. of Navarra. 

1108-1137 Louis VI, King of France, m. 
Atlehiide, d. of Humbert II, of Savoy. 

1137-1180 Louis VII, King of France, m. 
1st, Eleanor, d. of Guillaume X of 
Aquitaine. m. 2d, Constance, d. of 
Alphonso VII of Castile, m. 3d, Alice, 
d. of Theobald II, C. of Champagne. 

1180 1223 Philip II. King of France, m. 
1st. Isabelle of Artois, m. 2d. Ingeborg 
of Denmark, m. 3d, INIarie, d. of 
Berthold V of Meran. 

Dress {XII Century) 

In the twelfth century the bliaud for the 
men became fitted and hoods were worn. 

Tlie women's outer tunic became fitted, 
tricot and lacing were both introduced. 
This tunic had long bell-shaped sleeves. 
The sleeves of the chemise were long and 
fitted at the wrist. A smaller veil called 
an antique veil, held by a circlet or crown, 
sometimes embroidered, now took the 
place of the long veils. The shoes began 
to show points. See Fig. 143 and 144. 
Reference Books 

Calthrop. English Costume: Racinet. 
Costume Ilistorique: Planche, General His- 
tory of Costume: La Croix. Manners, Cus- 
toms, and Dress During the Middle Ages and 
Renaissance: Quicherat, Histoire du Cos- 
tume en France: VioUet-le-Duc, Diction- 
naire du Mohilier Franqais, Vols. 3 and 4. 



History 

71. Thirteenth and Fourteenth Centuries. 

1199-1216 John, King of England, m. 1st 

Alix, d. of Hugo. C. of Mortain, m. 

2d, Havoise, d. of D. of Gloucester, 

m. 3d Isabel, d. of C. of Angouleme. 



THIRTEENTH— FOURTEENTH CENTURIES 



Page One Hundi-ed Nine 



« 






Pig. U4- 



From \ 'inlhf-le-Duc. 

-Fitted costume of l'2th 
century. 



fmm VioUci-l^Xnic. 
Pig. 14(1. — Pnrti-colored or 
nrinoria! dress. 



FTffrn VioUet-lc-Duc 
Fig. 14.5. — 2nd form of surcot 
l.Stli and 14tb centuries. 



Ill 111. Eleanore of 



nW-m'i Henry 

Provence. 
1272-1307 Edward I m. l.st, Eleanora of 

Ca.stile. 2d. :Margaret. d. of Pln'lip TIT. 
1307-1327 Edward II ni. Lsabelle. d. of 

Philip IV, King of France. 
1327-1377 Edward III in. Philippa, d. of 

Wilhelni III. C. of Holland. 
1377-1399 Richard II in. l.st, Anna of 

Bohemia, ni. 2d, I.sabella of France. 
1399-U13 Henry IV, Lanca.stcr (Red 

Ro.se), in. 1st, Mary Bohun, ni. 2d, 

Jane of Navarra. 
1223-1220 Lonis VIII, King of France, ni. 

Blanche, d. of Alphon.so VIII of 

Ca.stile. 
1226 1270 Louis IX (St. Louis), King of 

France, m. INIarguerite, d. of C. of 

Provence. 
1270-128,5 Philip HI, King of France, ni. 

1st, lsabelle. d. of King of Arragon. m. 



2d. ]Maria. d. of Heinrich HI of Bra- 
bant. 

1285-1314 Philip IV, King of France, ni. 
Jeanne, Queen of Navarra. 

1314-1310 Louis X, King of France, in. 1st. 
Margaret, d. of Robert II, of Bur- 
gundy, in. 2d, Clcnicnce of Hungaria. 

1310-1.322 Philip V, King of France, in. 
Jeanne, d. of C. of Meran. 

1322-1328 Charles IV, King of France, m. 
1st, Blanch, d. of Ollio IV. m. 2d. 
Maria of Luxemburg, m. 3d, Jeanne, 
d. of Louis, C. of Evreux. 

1328-1350 Philip VI (Valois). King of 
France, m. 1st. Jeanne, d. of D. of 
Burgundy, m. 2d, Blanche of Navarra. 

1350-1364 Jean 11, King of France, m. 
1st Bonne of Luxemburg, 2tl, Jeanne, 
d. of William XII, C of Auvergne. 

1364-1380 Charles V, King of France, 
111. Jeani.e, d. of Duke of Bourbon. 



Page One Hundred Ten 



OUTLINE OF HISTORIC COSTUME 



1380-142'2 Cliarlcs VI, King 
of France, ni. Isabella of 
Bavaria Ingolstadt. 

Dress (XIII and XIV Centuries) 

In the thirteenth century, 
more interest was shown in 
dress. Both men and women 
wore a semi-fitted garment 
called a surcot, hollowed out 
under the arms. 

(rt) Men. — Wore close fit- 
ting trousers (braie); mantle; 
surcot ; tunic (chemise) ; cotte 
(tunic); stockings; hats or 
hoods. 

(6) Women. — Wore inner 
tunic or chemise, over this 
a cotte, or fitted chemise worn 
with a girdle, over this the 
surcot. The surcot had noFiG.i47 
sleeves, and those of the , 
cotte, usually of a con- 
trasting color, were an 
important feat^u'c of 
this robe; by degrees the 
arms-eye became larger 
and was trimmed with 
fur. See Figs. 123 and 
145. The skirts were 
very long and were held 
up as the woman walk- 
ed, showing the cotte 
again, which was the 
same material as the 
sleeves, making a pleas- 
ing repeat of the con- 
trasting color. In the 
iourteenth century the 
parti-colored or ar- 
nioi ial dress was worn, 
see Figs. 46 and US, 




From VioUei-lc-Dvc. 
14th and 15th century costup.j 
showing henuin and houppelantl. 




Fig. 148.— jNIen of th 



Frmn VioUct-l 
l.ith century. 



and the liennins or high head 
dress oame in. Toward the 
last of the century the Iioiip- 
pelande or one-piece dress 
replaced the surcot. See 
Figs. 147, 148 and 108. In 
this garment women are said 
to have discovered the nor- 
mal waistline. This had a 
V-shaped neck, widely off at 
the shoulders. The women 
were at this time wearing 
the wimple or head covering, 
and about the throat the 
gorget in certain localities. 

The surcot of the men grew 
shorter and had large sleeves. 
Their stockings were close- 
fitting and combined with 
the trousers. The shoes were 
^ more pointed. They added 
an houpplande or some- 
times long, sometimes 
short, outer garment 
with large sleeves. See 
Figs. 108 and 148. 

Reference Boohs 
Books mentioned under 
fifteenth century. 

History 
72. Fifteenth Cen- 
tury.— 

1413-1422 Henry V, 
King of England, 
m. Catherine of 
Valois, d. of Charles 
VI of France. 
1422 14G1 Henry VI, 
King of England, m. 
Margaret of Anjou. 
1461-1483 Edward IV 



% 



SIXTEENTH CENTURY 



Page One Hundred Eleven 



(White Rose), m. Elizjihetli of Wood- 

villo. 
1483 Edward V, King of Enghiiid. 
1483-1485 Richard III (White Rose), m. 

Anne Nevill. 



sfiuare necks and were worn with a 
girdle. Tlie close-fitting cap was the head- 
dress now used, and had probably been 
introtluced into France by Anne de Bre- 
tagne. Queen of France. See Fig. 150. 



1485-1509 Henry 










The Fifth cen- 


VII (Tudor), 




tf^ 


tury to the six- 


ni. Elizabeth 


y- -^^ 


^■S^^^t^"' 


teenth century 


of York. 


U^ 


^■fe-'Jf^ 


comprises the cos- 


1422-1461 Chailes 


^ 


- v-I^^KYk-, V^' 


tume history of 


VII, King of 


^^ MJmWWM^... 


the Middle Ages. 


France, m. 
Marie, d. of 


& >^BfiiijiM|^H 


^^^^^ 


^Reference Books 


D. of Anjou. 


' ^N '"^M T^^ 


kii/ASJir oM 


Calthrop, Eng- 


1461-1483 Louis 




m 


m f^^f^^^^-'Mj 


lish Costume: Zur 


XI m. 1st, 


m^' 


1 


[fi^B ^w(<)i B^J^^^^^Br ( "^3 


Geschichte dcr Cos- 


Marguerite, 


wl 




1 




tume; Quicherat, 


d. of James I, 


i\ 


u 


J 


J^M W\ mf^^m, 


Histcire du Cos- 


King of Scot- 
land, ni. 2d, 


m 


Ml 


m£W^ 


tume en France; 
Pauquet Frcres, 


Charlotte of 


^^1 ' ji 


Modes et Cosi^imes 


Savoy. 


# 1 / If 


V^M |0w||hB 


Hisioriques; Hot- 


1483-1498 Chades 


ml-lfB 


a^ ^A ^^^r 


tenrolh, Les Cos- 


VIII. m. Anne 

of Brittanj-. 


^r^JM 




iu mes chez les 
Pcuplcs;Li\ Croix, 


1498-1515 Louis 


^^"""^^^^ 


i^>^- ^^""^^^^ 


Planners, Costume, 


XII. m. 1st, 
Jeanne, d. of 


Fig. Un.— Germ 


Frtrni Zttr Gc^cliichic iIi_t for^nimc. 
an costume of carlj- iGth century. 


and Dress During 
the Middle Ages 


Louis XI, ni. 






and Renaissance; 


2d, Anne, widow 


■ of Charles V 


II 


Ln 


1.3(1, Robida, Ten Centuries 


in Toilette; Racinet, 



Mary,d.of Henry VII, Kingof England. Ilistoire du Costume; Planche, Dictionary 



Dress (XV Century) 

The fifteenth century was an exaggera- 
tion of the modes of the fourteenth. ^Nlore 
extravagant fabrics were used, and every- 
thing became more extreme, even to the 
points of the hats and shoes. 

Towards the end of this century came 
a transitional period. The toes of the 
shoes became round, the dresses became 
more semi-fitting, and were split up the 
front, showing the underskirt. They had 



and Cyclopedia; Viollet-le-Duc, Dictionnaire 
du Mohilicr Franqais, Vols. 3, 4; Rajjhael 
Jacquemin, lamographiedu Costume; Helen 
Sanborn. Anne of Brittany. 

For fifteenth century illustrations of 
costume, see Joan of Arc, by Boutet de 
INIonvel. 

History 
73. Sixteenth Century. Renaissance. — 
1509-1547 Henry VHI, King o^■ England, 
m. 1st, Catherine o- Aragon; m. 2d, 



*■ 



Page One Hundred Twelve 



OUTLINE OF HISTORIC COSTUME 




Frnji Pmiquct FrSres. 
Fig. 150. — (^ostume of transition period. 
.\nne of Drittany, 1500. 





Frotn Pau/iuit Frercs. 



Fio. 151.— Costume of ICth century, 1527. 




Fig. 152. — Enrlv Renai.e.sanre, 1530. 



Frtjm Pauqu^t Freres. 
Fig. 153.— French Kcnilenian, 1572. 



SIXTEENTH CENTURY 



Page One Hundred Thirteen 



of 



Anne Boleyn; m, 
3d, Jane Seymour; 
m. 4th, Anne of 
Cleves; m. 5thj 
Catharine Howard; 
m. Gth, Catharine 
Parr. 

1547-1553 Edward Vl. 

1553-1558 Mary Tudor, 
Queen of Enghuid, 
m. PhiHp H, King 
of Spain. 

1558-1603 Elizabeth, 
Queen of Enghuid. 

1515-1547 Francis I, 
King of France, ni. 
1st, Claude, d. of 
Louis XII; m. '2d, 
Eleanor, d 
Philip. 

1547-1559 Henry 
II, King of 
France, ni. 1st, 
Catherine de 
Medicis; m. 
2d, morga., 
Diana, Duchess 
of Valcntinois. 

1559-1560 Francis 
II, King of 
France, m. 
INIary Stuart, 
Queen of Scot- 
land. 

1560-1574 Charles 
IX, King of 
France, ni. 1st, 
Elizabeth, d. 
of Emp. ]Max- 
imilian; ni.2d, 
morga., Marie 
Touchet. 




Pig. 154.- 



Ffo/tt Pauqtict Frirt^. 

-Late Renaissance silhouette, 1586. 







Fig. 155.- 



From Pavgvet Frfre^ 
-Late Renaissance rnstiim^, 1572. 



1574-1589 Henry III, 
King of France, m. 
Louise of Lorraine. 
1589-1610 Henry IV 
(Bourbon), King of 
France, m. 1st, 
Marguerite of Va- 
lois; m. 2d, Marie 
de Medicis. 
Dress {XVI Century) 
Great changes now 
developed. The cos- 
tumes for men and 
women from this time 
on are no longer alike. 

The desire now seem- 
ed to be to alter in 
various ways the nor- 
mal shape of the figure. 
The women first wore 
a boneless corset, 
which they called a 
b(i.s(]uiiu\i\nd a crin- 
oline which gave 
the appearance of a 
hooped skirt, which 
they called thererf^/- 
gale. See Fig. 152. 
The waistline 
was normal and 
slightly pointed in 
front. A piece of 
material was sewed 
en the vertugale to 
take the place of 
the cotte. The 
under-sleeves were 
made of the same 
material, and some- 
t imes slashed to 
show the chemise; 
sometimes this 



Page One Hundred Fourteen 



same material was used 
as a panel in tlie front 
of the waist. The neck 
line was square but 
curved upward at the 
centre. The skirt was 
round length. 

Large mantles, usual- 
ly with hoods, were used 
for out of doors. The 
shoes were no longer 
pointed. Red was the 
popular color for shoes 
and stockings. Jewels 
were used in profusion 
to elaborate the cos- 
tumes; collars set with 
gems were favored. 

The men wore very 
short, often slashed, 
trousers, long stockings, 
a doublet with a 
square neck, slashed, 
round - pointed shoes, 
and a mantle. See 
Figs. 151 and 153. 

The first change 
came in the latter 
part of the century, 
when many women 
wore a waist which 
buttoned to the throat. 
The large over-sleeves 
were discarded fj." 
smaller ones with a 
padded roll at the 
arm-eye. The ruff now 
became popular. ^lore 
width was given to 
t'lC hips by a barrel- 
shaped hoop which 
made a definite change 



Fig. 156. — Costume of the 



OUTLINE OF HISTORIC COSTI :ME 



in the silhouette. The 
waist became smaller 
in size. Both round 
length and long skirts 
were worn. Trains were 
worn on horseback, one 
of which was seventy 
feet long. The widely 
open bodice l)ecame 
popular, to which im- 
mense ruffs were added. 
Th.e b a 1 1 o o n - s h a p e d 
sleeves, too, had grown 
enormous. It was at 
this time that rilibon 
came in. See Figs. 154! 
and 155. 

Men's figures dimin- 
ished in size as women's 
figinvs increased. They 
also wore both corset 

and ruffs. See Fig. 

15G. 




Fr^ml Pauqucl Frtrt.->. 

ate Renaissance, 158G. 




Reference Books 
See books mentionetl 
under fifteenth and 
seventeenth centuries. 



Frn/n Pauquel Freres. 
Fig. I,i7.— Early 17th Century costume, 163.S. 



Hist 1)111 

74. Seventeenth 

Century. — 

1G03-1625 James I, 
King of England, 
m. Anne, d. of 
Frederick II, King 
of Denmark. 

1625-164!) Ciiarles I, 
King of England, 
m. Ilenriette 
Marie, d. of Hen- 
• ry 1\, King of 
France. 



SEVENTEENTH CENTURY 



Page One Hundred Fifteen 





From Pauquci Fr^res. 
Fig. IjS. — Costume of llie early pari of I»iiis XIV reign. 



Vi;. 15!). — Costume of the reign of Louis 
XIV, 1 070. 





From Pauquct Freres. 
Fig. 160. — Costume of the later part of Louis XIV 
reign sliowing Fontanges liead-clress. 



From Pauguct Fr^Tes, 
Fic. 161.--Co.s!(ime of tlie lot"r part of 
Lcuis XIV reign. 



Page One Iluiulied Sixteen 



OUTLINE OF HISTORIC COSTUME 



l(i49 1()53 Interregnum. 

1G53-1()58 Oliver Cromwell, Protector of 

England, m. Elizabeth, d. of Sir 

Tlioni;!s Boiirchier. 
1658-l(i(i0 Richard Cromwell, Protector of 

Eng., m. Dorothy Mayor. 
1C60-1()85 Charles II, King of England, m. 

Catharine of Braganza. 
1G85-1G88 James II, King of England, m. 

1st, Anna Hyde; m. ^d, Mary, d. of 

Alfonso IV, D. of ^lodena. 
1089-170^2 William HI and Mary, King 

ami Queen of England. 
1(11 0-1 ()4;5 Louis XIII, King of France. 

m. Anna of Austria. 
I(i4;j-1715 Louis XIV, King of France, 

m. Marie Therese of Spain. 
Favorites Mile, de la Valliere, Mme. de 

Montespan, Mile. Fontanges, ]Mme. 

Maintenon. 

Dress (XJII Ccnttinj) 

The heaviness of the sixteenth century 
gave way by degrees to the more pictiu-esque 
costume of the seventeenth century. 

(a) Men. — Men's trousers lengthened 
ami they shortened the waistline and 
added peplum, and, like the women, used 
lace and ribbon profusely. They wore 
nuisketeer boots. Their hats were high 
with a flat brim antl decorated with flow- 
ing plumes. The hair was worn long. 
For an outer garment the cape was used. 

]Men's costumes in the last quarter of 
this century changed greatly. The doub- 
let now turned into a waistcoat or vest 
and a new garment or outer coat was 
adfied. Sleeves had deep cuff's. The stock 
collar and jabot took the place of round 
collars. The chemise showed at the wrist, 
and under the jabot. The trousers were 
close-fitting and less decorated . They wore 
l-'-rge nuifl's and wigs and a hat with turned- 
up brim and flat ])lu.nes. See Figs. 157, 
and 161. 

(h) Worun. — Abandoned the hoop, antl 



wore a round length under-petticoat and 
an overskirt which was often trailing. 
The fullness was at the sides and back. 
Often the skirt opened in front. When 
this was clone, a narrow panel of the same 
kind of material as the petticoat was used 
up the front of the bodice. The round 
neck line was used most at this period 
and the large, flat collar generally replaced 
the ruff. See Fig. 157. 

In .some instances the waistline was 
raised and a short slashed jiephun added. 
The woman often wore a string of pearls 
at the neck. Notice the simple way their 
hair was worn. See Figs. 157 and 158. 

In the latter part of the period, under 
Louis XIV, the skirt was looped up, the 
waist became longer, heels grew higher, 
waists grew tighter and fans were a neces- 
sity. See Fig. 160. 

Two kinds of neck lines were now pop- 
ular: The straight line decode tee, close 
to the neck, which seemed an extension 
of the ])anel front used with si'iort sleeves; 
and the rounil neck line, which was off the 
shoulders. A shorter, fluffier sleeve was 
used with the round neck line. Both these 
are forerunners of the eighteenth century. 

The Fontanges headdress came in the 
late part of this century and clothes be- 
came very formal under the sway of Mme. 
de Maintenon. See Fig. 160. Large bro- 
cades that looked like furniture covering 
were much used in the latter part of the 
reign of Louis XIV, and the material was 
draped so that a bustle effect was obtained. 
The women carried small, round muffs. 

Reference Books 

Calthrop, English Costume; Pauquet 
Freres, Modes et Costumes Historiques; 
Roliida, Ten Centuries of Toilette; Pierre 
Lamesangere, Costumes des Femmes Fran- 
aiises; Zur Geschirhte der Costume. 



9 



<i} 



EIGHTEENTH CENTURY 



Page One Hundred Seventeen 



History 

75. Eighteenth Century. — 

170'2-1714. Anne, Queen of England, 
m. George D. Cumberland. 

171-1-1727 George I, King of Eng- 
land, m. Sophia Dorothea, his 
cousin. 

1727-1760 George H, King of Eng- 
land, m. Carolina of Branden- 
Ijin-g-Ansbach. 

1760-1820 George III, King of Eng- 
land, m. Charlotte of Mecklen- 
burg-Strelitz. 

1715-1774 Louis XV. King of France, 
m. Maria Leczinska. 
Favorites Marchioness de Pom- 
padour, Countess du Barry. 

1774-1792 Louis XVI, King of France, 
m. Marie Antoinette, d. of Franz 
I. Stephen, Germ. Emp. 




iMwn 




■^i. 



-A- 






%Ms^^-t^\ 



From Pavguct Frircs, 
Fig. 162.— Draped costume of the late 18th century, 1763. 

Dress (XVIII Century) 

Early in the eighteenth century 
the hoop was revived (1711). 
This time it was a framework of 
cane, whalebone, or some similar 
material, and was called a panier. 
It was wide at the sides and flat 
in the back and front, but the 
fullness of the skirt gave the re- 
quired size at the back. During 
the regency, plain, full skirts of 
light weight material were in 
vcgue; afterward, heavic fabrics 
and more decoration appeared. 
The type was more frivolous 
than that used during the latter 
part of the reign of Louis XIV. 

When the bodice had a round 
neck, the sleeves were usually 
made of ruffles of lace; with the 

From Pauquet Frfrcs. 

Fig. 16.3.— Louis XV Watteau costume showins 18th century hoop. 1729. square neck, the sleeves Were 




c 



Page One Hundred Eighteen 



OUTLINE OF HISTORIC ( OSTUME 



,...i- 




Ftovi Pattgucl Frires. 
Fig. 164. — The costume of a man in 1740. 



usually clo.sc-fitting 
with decoration at 
the elbow. See Fig. 
166. Much lace, 
ribbon and artificial 
flowers were UK'd. 
]Mantles were cape- 
•shaped with hoods. 
In the second 
quarter of the cen- 
tury the one-piece 
dress with a Wat tea u 
plait came in; this 
was then worn con- 
temporaneously 
with the others, 
and made in differ- 
ent ways. See Fig. 
16;3. Sometimes the 
waistline was not 
defined and the 




A ■ ■■■ 






> 'v'' 



Paintim f>t/ Xallit:^ 

Fig. lOG. — 18th ceniury round neck line and ruffle lace 

^^ .sleeves. 



From Pauqucl Freres. 

Fig. 165.— Louis XVT costume, 1777. 



pleats were allowed 
to fall straight from 
the shoulders to the 
floor; at other times 
the skirt was draped 
at the back and sides, 
showing the under- 
skirt. The dresses 
were often worn 
short, as much at- 
tention was given to 
shoes and stockings. 
The costume of 
the men of this pe- 
riod was strongly 
influenced by the 
paniers used by the 
women and the 
skirts of the coats 
were stiffened and 
boned. The shoes 






EIGHTEENTH CENTURY 



Page One Hundred Nineteen 





Fiom ZvT G(schiclit€ (frr Cosmih: 
Fig. Ifi". — Louis X\"I tostiimr, 1780. 



Fr<iri> I'lUiqurt Fr^res. 

Fig. IfiS. — Dirertoire cost lime, 1798. 





From Z-irOcschMitedrr Costume. F'om P'ligtiet Frires. 

Fig. 168.— Rritish or masculine costume. Fig. 170.— Th5 costumes of 1795 c' the " Incroy.ibles " 



(men) and "' TMerveillciKses" and "Imposoibias" (women). 



Page One Hundred Twenty 



OUTLINE OF HISTORIC COSTUME 



had red heels, and a 
tricornered hat was 
worn. See Fig. 164. 

The costumes of the 
reign of Louis X\T 
from 1774 to 1792 were 
exaggerations of the 
costumes of the reign 
before. The bodices 
were extremely tight 
and stifBy boned, the 
skirts were elaborately 
trimmed, and immense 
headdresses were 
worn. See Fig. 165. 
Farming at the Petit 
Trianon brought in 
the dainty overdress 
adapted from the 
Watteau style, and the 




Fig. 171.— Fashions of the Consulate, 1799-1803. 



shepherdess crook. See 
Fig. 167. The next 
change was that 
brought in by the ap- 
proaching French Rev- 
olution. This was a 
more masculine cos- 
tume and was called 
British or English. See 
Fig. 168. 

The days of the Rev- 
olution (1789-1799) 
brought in simple 
fashions. Corsets were 
discarded, the waist 
became short and the 
skirt clinging, and 
cheap materials were 
used. During the Di- 
rectoire, the women 





Fig. 172. — Costume of the First Empire, 
1811. 



Fig. 173.- 



-Costiinie of the First Empire, 
1813. 



NINETEENTH CENTURY 



Page One Hundred Twenty-one 



adapted the classic 
style, borrowing from 
both Greek and Ro- 
man fashions. These 
costumes were scanty, 
and frequently were 
split up the sides. 
The dresses were 
often transparent and 
worn without chem- 
ises. See Fig. 169. 
The gentlemen of this 
fantastic period were 
styled " Incroyables," 
"Unimaginables "; 
the ladies, "IMerv'eil- 
leuses" and "Impos- 
sibles. " See Fig. 170. 
The men wore an 
exaggerated copy of 
what had been previ- 
ously called the 
English fashion. 

Reference Books 

See books mentioned 
under seventeenth and 
nineteenth centuries. 



History 
76. Nine te enth 

Century. — 

1820-1830 George IV, 
King of England, 
m. 1st, morga., 
Mrs. Fitzherbert; 
m. 2d, Caroline 
of Brunswick- 
Wolfenbuttel. 

1830-1837 William 
rV, King of Eng- 
land, m. Adelaideof 
Saxe-Meiningen. 




From PauQiict Freres* 
Fig. 174. — Costumes of the Restoration, 1820. 




Pig. 175. — Costumes of the Romantic Period during 
reign of Ixii.is I'liilip|ie, 1«:J0 1848. 



1837-1901 Victoria 
Alexandra, m. 
Albert, Prince of 
Saxe-Koburg and 
Gotha. 
1792-1795 Conven- 
tion. 
1795-1799 Directory. 
17i]9-1804 Consulate. 
1804-1814 Emperor 
Napoleon Bona- 
parte, m. 1st, 
Josephine Ta- 
scher, 2d, Marie 
Louise, d. of 
Franz I.German- 
Roman Emperor. 
1814-1824 Louis 
XVIII, King of 
France, m. Maria 
of Sardinia. 
1824-1830 Charles X, 
King of France, 
m. IMaria Theresa 
of Sardinia. 
1830-1848 Louis-Phi- 
lippe of Orleans, 
King of France, m. 
Marie Amalie of 
the Two Sicilies. 
1848-1870 Louis Na- 
poleon III, m. 
Eugenie de Guz- 
man, Countess 
of Teba. 
Dress (XIX Cenlimj) 
It is said that the 
fashions of the Con- 
sulate, 1799-1804, 
which were much more 
restrained, kept all 
that was ';■ st in the 



Pa-e One Hundred Twenty-two OUTLINE OF HISTORIC COSTUME 



fashions of the 
Directory. See 
Fig. 171. A beau- 
tiful quality of 
Indian lawns and 
muslins was used, 
and the shawl 
introduced by 
Napoleon became 
popular. 

During the Em- 
pire (1804-1814) 
materials became 
more elaborate. 
Things were mil- 
itary. Oriental 
silks and heavier 
materials were 
used, and the 
tendency was to 
be well covered. 
See Figs, l?-? and 
173. 

The Restoration, 
1814-1830 (reign 
of Louis XVIII), 
found the silhou- 
ette changing. 
See Fig. 174. 
Corsets had again 
come in and 
caused the waist- 
1 i n e to d r o I) 
slightly. The .skirts 
had more fullness, 
were elaborately 
trimmed and were 
worn quite short. 
(Charles X, 1824- 
1830.) In the 
twenties the waist 
found its normal 




Costi'mcs of the Scoontl Empire, 1852. 



waistline, the 
sleeves became 
large and gave 
width to the 
shoulders. INIuch 
interest was now 
being taken in 
bonnets. 

The reign of 
Louis-Philippe, 
1830-1848, was 
called the Ro- 
mantic Period. 
See Fig. 175. The 
waists were close- 
fi 1 1 i n g with a 
very low neck, and 
were wide oif at 
the shoulders. 
The popular ber- 
tha effect increas- 
ed this still more. 
The waistline was 
pointed in front, 
the skirt full but 
with less trim- 
mings, and floun- 
ces were some- 
times used. Shoes 
were low and had 
no heels. The Re- 
public under Louis 
Napoleon, 1848- 
1852, found the 
skirts increasing 
in size, and by the 
Second Empire 
under Napoleon 
III, 1852-1870, 
the skirts were 
held out by stiff 
petticoats which 



NINETEENTH CENTURY 



Page One Hundred Twenty-three 



led up to the retiu'n of the crinolines and 
hoops of 1854. See Figs. 17(1 and 177. The 
long shoulder line persislcil and sleeves 
were bell-shaped and full at the wrist. 
Jackets, shawls, and capes similar to those 
worn in the First Empire were used. By 
1870 the hustle had supplanted the hoops, 
and from that time to the present rapid 
changes have taken place. 

Reference Books 

Modes et Coslumes Uistoriques, par Pau- 
quet Freres, two volumes; Portraits cii 
Pied, Dessines par Saute Graves. Zur 



Geschichte der Costume; Iconographie du 
Costume, by Raphatl Jaequemin; English 
Costume, by Calthrop; Fashions in Paris, 
1797-1897, by Octave Uzanne; Modes et 
Usages an temps de Marie Antoinette, 
Livre; Journal de Madame Eloffe, Le 
Comte de Reisct; Marchande de Modes; 
Dame Fashion, 1786-191'-2, by Julius M. 
Price; Galerie des Modes et Costumes Fran- 
gais, 1778-1787, par M. Paul Cornu; 
Die Mode; Modes and Manners of Nine- 
teenth Century, by Dr. Oskar Fischel and 
Max von Boehn, translated into English 
by M. Edwank's in three volumes, 1790- 
1878 and Godey's Lady's Book, 1830-1890. 




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Drawn by liiii]?;-! Iliiiry fur I'Vlix .JiiMj,'i]iaim & Cie.. Paris. 



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BIBLIOGRAPHY 



BIBLIOGRAPHY 



Racinet. Histoire du Costume. C vols. Illustrated. 
French text. 

Dress of the Ancient Egyptians. Published by the 
Metropolitan Museum of Art. Illustrated. 

Ancient Eijinitian Kerchief. Metropolitan Museum 
bulletin, Vol. XI, No. 11. Illustrated. 

Prisse D' Avennes. Histoire de L'art Egypt. Illus- 
trated. French Text. 

Book of the Dead. Facsimile of Papyrus of Ani 
in British JMuseum. Illustrated. Enijlisii text. 

Breasted. Ancient Times. Illustrated. English text. 

Abrahams. Greek Dress. Illustrated. English 
text. 

Evans. Greek Dress. Illustrated. English text. 

Hope. Costume of the Ancients. 2 vols. Illus- 
trated. English text. 

Sotnr. La Femme dans L'Antiquit^ Grecque. 
Freneli text. 

Van Rensselaer, Mrs. Schuyler. A Cretan Snake 
Goddess. Century Magazine, August, 1916. 
Illustrated. English text. 

Brown, (1. Baldiein. How Greek Women Dressed. 
IJurlington Magazine, December, 190.5, and Jan- 
uary, 190(i. Illustrated. English text. 

Planche. Dictional-y and Cyclopaedia, i vols. 
Illustrated. English text. 

Jdctjiicmin. Iconographie du Costume. Illustrated. 
Freneli text. 

Quicherat. Histoire du Costume en France. Illus- 
trated. French text. 

Ilottenroth. Le Costume chez les Peuples. Aiieiens 
et Moderns. Illustrated. German and French 
text. 

Boutet de Monvel. Joan of Arc. For XV Century 
Costume. Illustrated. French and English text. 

Braun. Diez. Froehlich. etc. Zur Geschichte der 
Kostume. Illustrated. German text. English 
index. 

Viollet-le-Duc. Dictionnaire du Mobilier Fran(;ais. 
Vols. 3 and 4. Illustrated. French text. 



Renan, Ary. Le Costume en France. Illustrated. 

French text. 
Robida, A. Ten Centuries of Toilette. Illustrated. 

French and English text. 
Challamel. The History of Costume in France from 

Gallo-Roman to present time. Illustrated. Eng- 
lish text. 
Billoc. Bayeux Tapestry. Illustrated. English 

text. 
La Croix. Manners, Customs and Dress during the 

Middle Ages and Renaissance. Illustrated. Eng- 
lish text. 
Calthrop. English Costume. Early English, Middle 

Ages, Tudor and Stuart, and Georgian. Published 

in 1 vol. and in 4 vols. Illustrated. English text. 
Pauqnet Freres. Modes et Costumes Historiques. 

2 vols. Illustrated. French and English text. 
Hughes. Dress Design, an account of Costumes for 

artists and dressmakers. 1 vol. Illustrated. 

English text. 
.Iria. Costume. Fanciful, historical and theatrical. 

Illustrated. English text. 
Le Comte de Reiset. Modes et Usages au temijs de 

Marie Antoinette. Livre — Journal de INIailame 

Eloffe. Marchande de Modes. Illustrated. 

2 vols. French text. 
Grand-Carteret. Les Elegances de la Toilette. 

Louis XVI-Restauration, 1780-1825. Ilhistrated. 

French text. 
Wahlen. Moeurs, Usages et Costumes dj lous les 

Peuples du Monde. Illustrated. French text. 
Lamesangere. Costume des Femmes Fran^.iise. 

Illustrated. French text. 
Sante Graves. Portraits en Pied. ^ ustrated. 

French text. 
Vzanne. Octave. Fxshions m Paris, 1767-IB97. 

French and English text, lllus'rated. 
Price. Dame FaSliion, 1786 1912. Eng.i>h text. 

Illustrated. 



4&. 



Page One Hundred Twenty-eight 



BIBLIOGRAPHY 



Vornu, M. Paul. Galeric df.s Moilos et Costumes 
Frangaises, 1778-1787. Illustrated. French text. 

Fishd and Von Bnehn translated by M. Edtvardcs. 
Modes and Manners of tiio Nineteenth Century, 
1790-1878. 3 vols. Illustrated. German and 
English text. 

Rhead. Chats on Costume. Illustrated. English text. 

Earlc. Two Centuries of Costume in America. 
Illustrated. Pul>lishc<l in 1 vol. and '2 vols. 
Engli.sh text. 

McCMlan. Historic Dress in America. Illustrated. 
Vol. 1. 1607-1800; Vol. '2. 1800-1870. English text. 

Webb. The heritage of Dress. Notes on the history 
and evolution of clothes. Illustrated. English 
text. 

Bahst. Leon. L'art d^coratif. French text. 

Falcs. Dressmaking. Chapter I on The Historic De- 
velopment of Costume. Illustrated. English text. 

Ellsworth Textiles and Costume Design. 

Peterson's Magazine. 184'2-1898. English text. 

Godei/'s Lady's Book. 18;?0-1898. English text. 

(iazette du Bon Ton. Arts, Modes and Frivolities. 
French text. 

Journal des Dames et des Modes. French text. 

Burbank. Woman as Decoration. English text. 

Lessing. Julius von. Die Gewehe Sammlung des 
Kunstgewerhe Museum. German text. 

Funke. Otto von. Seidenweherei. ^2 vols. German text. 

Moore. N. Hudson. The Lace Book. Showing 
Specimens of Lace, or its wear in famous por- 
traits. English text. 

Palliser. Mrs. Bury. .\ History of Lace. English 
text. 

Rieei, Elisa. Antiche Trine Italiane. Italian text. 

Pollen, Mrs. J. Ilungerford. Seven Centuries of 
Lace. English text. 



Jourdain, M. Old Lace. English text. 

Lowes, Mrs. Chats on Old Lace and Needlework. 

English text. 
Laprade, Mine. Laurenee de. Le Poinet de France. 

French text. 
Jackson, Mrs. F. Nevill. A History of Hand-made 

Lace. English text. 
Lefeburc. Ernest. Embroidery and Lace. English 

text. 
Iluisli. Marcus B. Samplers and Tapestry Em- 
broideries. English Text. 
Modes et Maniers D'Aujourd'Hui. Illustrateil by 

Lei)ape, 1912, Martin, 1913, and 3?arbicr, 1914. 

French text. 
Nevill. Ralph. British Military Prints. Illustrated. 

English text. 
Falls. D. ir. ('. Army and Navy Information of the 

Warring Powers. English text. 
fl'ietz. Ecclesiastical Costume, 'i vols. German 

text. 
Villermont, Comtesse de. Histoire de la Coiffure 

F(?ininine. Illustrated. French text. 
Darey, Richard. A History of Mourning. Illus- 
trated. English text. 
Rhead, G. W. History of the Fan. Illustrated. 

English text. 
Redfern. W. B. Royal and Historic Gloves and 

Shoes. Illustrated. English text. 
The Brooklyn Library. A Reading and Reference 

List on Costume, arranged alphabetically. 
For Periodical References see Poole's Index and 

tlie Readers" Guide. 
Neir York Public Library. Art Division. In ])rep- 

aration. Textile list and Costume list. Each not 

only lists books and articles, but parts of books 

and individual plates. 





Drawn by Bobert Hei'ry tor FelL\ Jungmann & Cle., Paris 



ARTISTS WHOSE WORK HAS BEARING ON PERIOD 

FABRICS OR COSTUME 



^ 



ILL 






^^ 



ARTISTS WHOSE WOIU^ HAS BP^ARING ON PERIOD 

FABRICS OR COSTUME 



Greek and Roman Sculpture. (See I'niversity Prijits, Students' Scries A.) 
Mosaic. Emperor Justinian and liis suite. Byzantine, (ith century, at Ravenna. 

San Vitale. 



ca. (circa) =al)()ut. 

Ilaliiiii Paiiifiii(i 

Amhros^in da IVdis (ScIkh.I of .Milan). JI. US'i- 
150(). 

Bartoloinineo Veneto (Venetian Scliool). ,//. Io05- 
1555. 

Bassano, L. da P. (Venetian School). 1557-1C'22. 

Bissoio, F. (Venetian School). 1464-1528. 

Botticelli, S. (Florentine School). U41-1510. 

Bronzino, A. (Florentine School), ca. 150'2-157'-2. 

Butinone, B. J. (School of Milan). ca. 1436- 
1507. 

Calisto Piazza da Ixxli (School of Brescia), fl. 
1521-1.56'3. 

Carnevale, Fra (School of I'mbria and Perugia). 
loth century. 

Carpaecio, V. (Venetian School), ca. 1455- ca. 
1525. 

Cimabue (Florentine Scliool). ca. 1240-l,'?n2. 

Conti, Bernardino de" (School of Milan), fl. 
1490-.^ 

Cossa, F. (School of Ferrara). ca. 14.'55-148(). 

Crivelli, C. (Venetian School), ca. 1430-fa. 14i).'S. 

D(/nienico Veiieziano (Florentine School), ca. 
1410-1461. 

I)u'"cio di Buonin.segna (School of Siena), ca. 
1260-1320. 

Ghirlandajo. D. and pujiils (Florentine School). 
1452-1525. 

(iiotto and pupils (Florentine School). 1266-1337. 

Giovanni di Paolo (School of Siena), ca. 1403- 
1482. 

Giovanni di j'iamonte. //. 15th century. 

Giovenone, G. (School it \Crcclli). >•<•. 14;)0- 
1555. 

Jacohello del Kiorc (Venetian Scho .' '0- 

1439. 



/. = flourislic<l. 

Lorenzetti, A. anil P. Follower of (School of Siena) 
fl. 1323-1348-/. 1305-1348. 

Mantegna, A. (School of Padua). 1431-1506. 

Maratti, C. 1625-1713. 

Ma,solino. (Florentine School.) 1384-ca. 1435. 

Moroni, G. B. 1520-1578. 

Palma A'ecchio. Venetian School. 1480-1528. 

Parmigianino (School of Parma). 1504-1540. 

Perugino, P. (Umbrian School). 1416-1523. 

Pesello, G. (Florentine School). 1307-1446. 

Piero di Cosinio (Florentine School). 1462-1521. 

Pinturicchio. B. (Umbrian School). 1454-1513. 

Pisanello. ca. 1397-1455. 

Pulzone, S. ca. 1562-co. 1588. 

Ronianino, G. (School of Brescia), ca. 1485-1566. 

Rotari, P. (lei. 1707 -co. 1762. 

Sellajo, J. del (Florentine School), ca. 1441-K93. 

Signorelli, Luca (Umbro-Florentine School). 1441- 
1523. 

Sodonia, II (School of Vcrcelli). ca. I477-151'J. 

S|)inello, G. (Florentine School). 1.387-1452. 

Stefano da Zevio (School of Verona), ca. 1393- 
1451. 

Titian (Venetian School). 1477-1576. 

Vasari, G. 1511-1574. 

A'eronese, P. (Venetian School). 1528-1588. 

Verrocchio, A. (Florentine School). 1435-148'- 

Vivarini. A. (Venetian School). /. 1444-14 • ■^. 

Ziiccaro, F. ca. 1543-1609. 

Masters dei Cas.-oni. 

Painting, Byzantine School. 

Painting, Florent'-'' School. 

Pai-t'i.^, ItJi;,.i .-.chool. 

Pan, ting. North Italian Scliool. 

I'aintii:;;, I'mbrian Sclu ol. nl'li centurv. 

Painting, Venetian School. Kith century. 

'^'ain'Ing, Venetian School. 






Page One Hundred Thirty-two 



LIST OF ARTISTS 



Dutch Painting 
Codde, P. 1610-l(!fiO. 
Cornelisz, J. 147.j-l.>0(). 
Cronenburcli. A. \aii. IGtli century. 
Cuyp. J. G. 1.575-Ui-l.!). 
Don, G. 1()13-1G75. 
Hals, F., the elder. 1580-4-1600. 
Heist, B. van der. 1013-1670. 
Honthorst, W. van. 1601.-1000. 
Jacobsz, L. 11.91-1533. 
Janssen, P. '2d half of 17th century. 
Joest von Calcar. J. 1100-151!) 
Ketel, C. 1540-! 010. 
Keyser, T. de. 1596-1667 (1679?). 
Mesdach. S. 1st half 17th century. 
Metsu, G. 1030-1007. 
Mierevelt, M. J. 1567-1641. 
Molenaer, J. M. ?-1688. 
Moreelse, P. 1571-1638. 
Mostaert, J. 1474-1550. 
Mytens, D., the elder. 1590-1058. 
Palaniadesz, A. 1001-1073. 
Ravesteyn. A. van. 17tli century. 
Santvoort, D. D. 1010-1080. 
Steen, J. ca. 1620-1679. 
Ter Borch, G. 1617-1681. 
Troost, C. 1097-17,50. 
Venne, A. van der. 1589-166'2. 
Vermeer van Delft, J. l(i3J-]675. 
Verspronck, J. C. 1597-166''. 



Voort, C. van der. 
Wilt. T. van der. 
Painting, Dutch. 
Painting, Dutch. 
Painting Dutch. 
Painting, Dutch. 



1576-16'24. 
1659-1733. 
14th century. 
15th century. 
16th century. 
17th century. 



Flemish Painting 
Ble& H. de. 1480-1.550. 
Blpiberch, A. 1566-1625. 
Bouts, A. .^-1548. 
Bouts. D. 1410-1475. 
Canipin, R.. 1375-1444. =1 

Clianipaigne, P. van. 1602-1674. 
Claeissens, P., the elder. 1500-1576. 
. Cleve, J. van, the elder, ca. 1485-1540. 
Coffermans, M. fl. 1549 -1575. 
Cristus, P. 14001 ^j-l 473. * 
David, G. 1450-1523. 
Dvck, A. van. 1599-1641. 






Eyck, J. van. ca. 1381-1440. 

Francken, F., the youi ger. 1581-1642. 

Geerarts, IM., the yoiuiger. 1561-1635. 

Goes, H. van der. ?-1482. 

Heere, L. de. 1534-1584. 

Isenbrant, A. Before 1510-1951. 

Justus of Ghent ca. 1470? 

Mabuse, .1. van. 1470-ca. 1533. 

Marniiou, S. ca. 1425-1489. 

Massys, Jan. 1509-1575. 

Mask?r of the IjCgenfi of St. Lucy. 15th century. 

Master of the St. Ursula Legend. 15th century. 

Memlinc, H. (Memling). ca. 14.30(?)-1494. 

More, A. 1512-1570. 

Pourbus, F., the elder. 1541-1581. 

Pdurbus, F., the younger. 1570-1022. 

Pourlius, P., the younger. 1510-1584. 

Roymerswale, M. van. 1497-1567. 

Rubens, P. P. 1577-1640. 

Somer, Paul van. 1570-1621. 

Vos, C. de, the elder. 1585-1051. 

Weyden, R., van der. 1400-1464. 

Painting, Flemish. 16th century. 

Painting, Flemish, of Brussels. 15th century. 

German Painting 

Bruyn, B., the elder. 1493-1655. 

Bruyn, B., the yoiniger, ca. 1530-ca. 1010. 

Cranach, L., the elder. 1472-15.53. 

Dnnwegge, H. and V. 1520-? 

Master of the Life of the Virgin. /. ca. 1460-1480. 

Master of St. Bartholomew, ca. 1490-1510. 

Master of St. Severin. .''-1515. 

Multscher, H. ca. 1440-1407. 

Ncufchatel, N. ca. 1527-1590. 

Pacher, M. 1430-1498. 

Pleydenwurff. 1450-1494. 

Ratgeb, J. 10th century. 

Ring, L. ca. 1521-1583. 

Roos, T. I(i38-1698. 

Schcits, M. 1640-1700. 

Seisenegger, J. 1505-1567. 

Wolgeniut, M. 1434-1519. 

Painting, German. 15th century. 

Painting, German. 10th century. 

Spanish Painting 

Carreno, J. de M. 1614-1685. 
Coello, A..S. 1513(?)-1590. 
Gonzilez, B. 1564-1627. 



« 



« 



* 



LIST OF ARTISTS 



Page One Hundred Thirty-three 



Goya y Liicientes, F. J. de. 174G-18'28. 
Liano, F. fie. loSC-lGSS. 
Pantoja di- la Cruz. J. 1551-1609. 
Velasciuez. 1599-1060. 
Vcrmejo, B. fl. ca. U90. 
Zurbaran, F. de. 1598-1062. 
Painting, Spanish. 15tli century. 
Painting, Spanish. 16th century. 
Painting, Spanish. 17th century. 
Painting, Hispano-Flemish. 1151. 

Russian Painting 
Ritt, A. 1766-1799. 

French Painting 

Bourdichon, J. 1457-1521. 
Clouet, Francois. 1500-1572. 
Corneille de Lyon. ?-ca. 1574. 
Coyi^el, C. A. 1694-1752. 
David, L. 1748-1825. 
Drouais, F. H. 1727-1775. 
Duniont, J. 1701-1781. 
Fautin-Latour. 1836-1904. 
Favray, A. C. de. 1706-1789. 
Fouquet, J. ca. 1415-ca. 1480. 
Fragonard, J. H. 1732-1806. 
Fromenl, N. 15th century. 
Gandara. A. de la. 1862-. 
Gerard, F. P. S. 1770-1837. 
Greuze, J. 13. 1725-1805. 
Hilaire. J. B. 18th-19th century. 
Huet, J. B. 1745-1811. 
Ingres, J. A. D. 1780-1867. 
Lancret, N. 1690-1743. 
Largilliere, N. de. 1656-1746. 
La Tour, M. Q. de. 1704-1788. 
Le Brun, (Mme.) Elisabeth Louise Vig^e. 1755- 
1842. 

Lefebvre, Jules Josepli. 1834-? 
Lefcvre, Robert. 1756-1830. 
Liotard, Jean fitiemie. 1702-1789. 
Loo. C. A. van. 1705-1765. 
Manet. Edouard. 1833-1883. 
Marcs, Pierre. 15th century. 
Master of Moulins. 15th century. 
Nattier, Jean Marc. 1685-1766. 
Oudry, P. 16tli century. 
Pater, Jean Baptiste Joseph. 1695-1736. 
Perrcal, Jean. fl. 1483(:-)-1528. 
Pesne, Antoine. 1683-1757. 
Prud'hon, Pierre Paul. 1758-1823. 



Quesnel, Frangois. ra. 1544-1619. 

Renoir, Firmin Aiignste. 1841- 

Rigauil. Ilyacinthc. 1659-1743. 

Riouit, Louis Edouard. 1780-1855. 

Thevenot, Arthur Fran^-(jis. 19th century. 

Tocque, Louis. 1096-1772. 

Vesticr, Antoine. 1740-1824. 

Watteau, Jean Antoine. 1684-1721. 

Painting, French. 15th century. 

Painting, French, of Amiens. 15lh century. 

Painting, French, of Amiens. 16th century. 

English Painting. 

Beechey, Sir W. 1753-1839. 

Closterman, J. 1656-1713. 

Corvus, J. 16th century. 

Cotes, F. 1726-1770. 

Gainsborough, T. 1727-1788. 

Hogarth, W. 1697-1764. 

Hoppner, J. 1758-1810. 

Jervas, C. 1075-1739. (Irish Put.) 

Lawrence, Sir Tliomas. 17(i9~1830. 

Raeburn, Sir Henry. 1756-1823. 

Ramsay, Allan. 1713-1784. 

Reynolds, Sir Joshua. 1723-1792. 

Richardson, J., the elder. 1665-1745. 

Ronmey, G. 1734-1802. 

Sharpies, J., the elder, ca. 1750-1811. 

Talfourd, F. 1815-1874. 

Ward, E. M. 1816-1879. 

Painting, English. 15th century. 

Painting, English. 16th century. 

American Painting 
Badger, Joseph. 1708-1765. 
Blackburn, J. B. 1700-1760. 
Copley, J. S. 1737-1815. 
Feke, R. 1724-1769. 
Frothingham, J. 1786-1864. 
Greenwood, J. 1729-1792. 
Inman, H. 1801-1846. 
Jarvis, J. W. 1780-1834. 
Morse, S. F. B. 1791-1872. 
Osgood, C. 18th-19th century. 
Pratt, M. 1734-1805. 
Smybert, J. 168,4-1751. 
Stuart, G. 1755-1^28. 
Sully, t. 1783-1872. 
Trumbull, J. 1756-1843. 
Waldo, S. L. 1783-1861. 




CuurOsy of liaiptr's Bazar. 



From a colored cover design by Brunelleschi. 



Ti- 



INDEX 



^ 



^ 






INDEX 



Accessories, 6 

Acropolis, 103 

Action, 10 

Adam school, 97 

Advertising, department store illustrated. 49 

Advertising, magazine, lialf-tone, 57 

Advertising, magazine, illustrated, 51 

Advertising, magazine, i)en anri ink illustrated, 53 

Advertisement, magazine illustrated, 40 

Age, Golden, 103 

Age of Pericles, 103 

Air brush, illustration, 35 

Alfred the Great. IOC 

Analogous harmony, 62 

Anatomy, Preface, 13, "23 

Animal arrangement, illustrated, 94 

Anne of Brittany, costume illustrated, 112 

Anne. Queen. 97 

Anne, Queen, of England, 117 

Applying color, 9, 70-71 

Armorial dre.ss, 110 

Armorial dress, illustrated, 93, 109 

Arms, 14 

Arms, illustration, 21 

Arthur, King, 106 

Artists whose work has bearing in period fabrics or 

costume, 131-133 
Asp. Egyptian, 102 

Austria, Anne of. Queen of France, 116 
Avery, Claire, 54, 59 

Background. 65 

Back view, form illustrated, 1, 2, 3, 4 

Balance, 05 

Balance, of figure, 22 

Barbier, George, 42, 54, 72 

Barry, Countess du, 87, 117 

Bascpiine, 113 

Batchelder, Ernest A.. 30 

Baviere, de Isabeau, 95 



Beardsley, Aubrey, 42 

Beardsley, Aubrey, illustration, 54 

Beer, 6 

Ben Day, 31, 39, 40 

Ben Day color, illustrated, 62 

Ben Day, illustrated, 33, 49, 55 

Ben Day, magazine, illustrated, 50 

Betrothal of Saint Catherine, 95 

Bibliography, 127-128 

Binary colors, 61 

Birch, 16 

Bliaud, 108 

Blocking in, 10 

Boots, musketeer, 110 

Box plaits, 38 

Braie, 110 

Bristol board, kid finish, 43 

Bristol board, plate, 43 

British or masculine costume illustrated, 119 

Brittany, Anne of. 111, 112 

Brummel, Beau, 78 

Brunelleschi, 42, 54, 134 

Brush, air. 32 

Brush work, 52-53 

Brush work, illustrated, 40, 45, 46, 53, 54 

Brushes, 71 

Brushes, for wash work, 48 

Buddhism. 91 

Bustle, 123 

Buttons, illustration, 5 

Byzantine influence, 107 

Callot. Stcurs, 6 

Carlyle, 45 

Catalogue, ink work, illustrated, 40 

Catalogue page, illustrated, 30, 31, .35 

Catalogue, pattern work illustrated. 52 

Catalogue, wash. 50 

Catalogue work illustrated, 47, 51 

Charlemagne, 107 



*" 



Page One Hundred Thirty-eight 



INDEX 



Charlemagne, daughters of, 9-t 

Charles I, King of England, 86, lU 

Charles II, King of England, 86, 116 

Charles VI, 95 

Charles X, 121, 122 

Charles the Simple, 95 

Chart, color, 65-60 

Checks, illustrated, 41, 42 

Chemise, 108 

Cheruet, 6 

Chicing, 10. 13 

Chiffon, 37 

Chiffon, illustrated, 9 

Children, 59 

Children, illustrated, 13, 16 

Children, lay-out illustrated, 41 

Children, proportions, 10 

Children, proportions illustrated, 17 

Chinese influence, 97 

Chinese ornament, 98 

Chinese white, 37 

Chiton, Doric, 103 

Chiton, Greek, 103 

Chiton, Ionic, 103 

Chlamys, Greek, 103 

Circle, construction. 36 

Classic Period, Greek, 103 

Clifford, Period Furnishings, 96 

Cloak, Egyptian illustrated, 102 

Cloaks, Egyptian. 101 

Colbert. 97, 98 

Collar, flat, 116 

Cold color, 63 

Collection, documents, 36 

Collection, swipe ,36 

Color, 61-71 

Col^or, applying, 9, 70-71 

Color, binary, 63 

Col' '■ chai-t, 65-66 

Color, complementary, 63 

Color, Dr. Frank Crane, 67-70 

Color, intensity or chroma. 62 

Color, materials, 65. 70, 71 

Color, normal. 03 

Color, primaries, 63 

Color scale, 63 

Color schemes, 67 

Color, significance, CC, 07 

Color sketch, 6 , 

Color, tempera, 9 



Color, theory, 63 

Color, tone, tint, shade, hue, 63 

Color, value, 66 

Color, warm, 63 

Color, water, 9 

Color, with wash, 50 

Colors, tertiary. 03 

Compass. 30 

Complementary colors, 63 

Complementary harmoziy, 65 

Composition, 30, 52, 53 

Composition, reference books, 30 

Construction, head illustrated, 17 

Construction of figure illustrated, 15 

Construction, toothpick, 22 

Consulate. 121 

Consulate fashions, illustrated, 120 

Convention, 121 

Coptic design, 91 

Copying, 10, 37 

Corset, illustrated, 39 

Corsets, 114, 120, 122 

Costume, Consulate, 120 

Costume Design, Preface 

Costume. Directoire. illustrated, 119 

Costume, Egyptian. 101-102 

Costume Egyptian, illustrated, 101-102 

Costume, 18th century, illustrated, 117, 118, 119 

Costume. First Empire, illustrated. 120 

Costume, Gallic, illustrated. 105 

Costume, Gallo-Roman. illustrated, 105 

Costume, Greek, 103-104 

Costume. Homeric, 103 

Costume, illustration. Preface 

Costume, Louis XIV, illustrated, 115 

Costume, Louis XV, illustrated, 117, 118 

Costume, Ij(3uis XVI, illustrated, 119 

Costume. Louis XVIII. illustrated, 121 

Costume, Ijouis Philippe, illustrated, 121 

Costume, ma.sculine, British or English, 120 

Costume, Minoan or Mycenaean, 103 

Costume, Pre-Hellenic. 103 

Costume. Restoration, illustrated, 121 

Costume, reference books. 127, 128 

Costume, Roman, 104-105 

Costume, Romantic Period, illustrated, 121 

Costume, Wattea I) "lustrated. 117 

Costumes, Restoration, illustrated. 121 

Costumes, 2d Empire, illustrated, 122 

Cotte, 110 



INDEX 



Page One Hundred Thirty-nine 



Crane, Dr. Frank, ciilor, 67-70 
Crayon, pencil, 48, oO, 51, 1'2-i 
Crepe, illiistratecl, .'> 
Cromwell, Oliver, 110 
Cromwell ian period, 86 
Crown, re<l, 102 
Crown, white, 102 
Crnsa(le.s, 95, 108 

Dancing girls, Egyptian, 102 

Dark Ages, Egyptian, 101 

David, Jacqne.s Loni.s, 87 

Dec-orative detail illn.strated, 44,45 

Decorative fashion work ilhistrated, -14, 45 

Decorative lialf-tone, 56 

Decorative pen and ink, 40 

Decorative pen and ink, ilhistrated, 53 

Decorative treatment, 38 

Department store advertising. 39 

Design, .ad.aptation illustrated, 91, 75, 76 

Design, costume, 75-79 

Design, fundamentals of, 65 

Design, influences, 91 

Design, primitive, 91 

Design, sources, 70-78 

Design, symbolic significance, 91 

Designers, 6 

Detail, decorative, ilhistrateii. 44, 45 

Detail, illustrated, 42 

])ctai!s, 5-6 

Diana, Dutchess of Valentinois, 113 

Directoire, 98. 120, 121 

Directoire and Empire design, 98 

Directoire co.stume, ilhistrated, 119 

Directoire period. 97 

Directorate, 87 

Directory, 121, 122 

Documents, 36. 86 

Documents, u.se illustrated, 37-38 

Dominant harmony, 62 

Doric chiton. 103 

Dotted materials, 37 

Doul)le complementary harmony, 65 

Pouhlet, 114 

Dow, Arthur, 30, 52 53 

Drapery, 38 

Drapery, illnstrate<l, 85 

Drawing, without models, 13-23 

Dretoll, (i 

Dress and History. 3d to lltii Century, 106-107 



Drc-s, Consulate, 120 

Dress, ISlh century, 117-121 

Dress, 18th century illustialed, 117, 118, 119 

Dress, Egyptian, 92. 101, 102 

Dress, 11th century, 108 

Dress, First Empire illustrated, 120 

Dre.ss, 14th and 15th centiiries illustrated, 110 

Dress, 15th century. 111 

Dress, Greek, 92 

Dress, Louis XIV, illustrated, 115 

Dress, Louis XV, iliustra'.ed, 117, 118 

Dress, Louis XVI, illn.strated, 119 

Dress, Louis XVIIL illustrated, 121 

Dress, Louis Philippe, illustrated, 121 

Dress, 19th century, 121 

Dress, parti-eolored 93, 109, 110, 

Dress, Restoration illustraleil, 121 

Dress, Roman, 93, 104, 105 

Dress, Romantic Period, illustrated. 121 

Dress, .second Empire, illustrated, 122 

Dres.s, Kith century, 113, 114 

Dress, 17th century, 116 

Dress, 12th century, 108 

Dress, 13th and 14th centuries, 110 

Dress, Watteau, illustrated, 117 

Drian, illustration. Frontispiece 

Drian, 47, 54 

Dryden, Helen, 16, 47, 54 

Dryden, Helen, illustration, 16, 24 

Du Maurier, George, 88 

Dunjop, J. M.. Prrface, 14 

Diuer, All>ert, study of hands, 19 

Durer, Albrecht, 38 

Diirer, Albrecht, illustration, 85 

Duval, Preface 

Dyes, ancient, 92 

Early fabrics and designs, 91 

Early Renais.sance costume, illustrated, 112 

East India Company, 97 

East, influence of, 91, 93 , 

Eastern character, 97 v 

Eastern design. 91 

Editori.nl. magazine. 56 

Editori.ii. magazine, illusfrale<j, 44, 45 

Editorial, magazine color, illustrated, 62 

Editorial, newspaper, 40 

Editorial, pen and ink. .38, 39 

Egyptian costume. 101, 102 

Egyi)tian eoslume illustrated, 92, 101, 102 



Page One Hundred Forty 



INDEX 



Egyptian dress, 92, 101, 102 

Egyptian emblems, 102 

Egyptian fabrics, 91, 92 

Egyptian, Old Kingdom, 101 

Egyptian symbols, 102 

Eighteenth century, 86, 88 

Eighteenth century, costume reference hooks. 1 1 6, 1 23 

Eighteenth century costume illustrated, 117,118,119 

Eighteenth century dress, 117-121 

Eighteenth century, late, illustrated, 119 

Eleventh century costume, illustrated, 107 

Eleventh century dress, 108 

Elizabeth, Queen of England, 97, 113 

Elizabethan collar, 8G 

Elizabethan era, 8.5 

Ellipse, constructing, 3C 

Ellipse, construction illustrated, 37 

Emblems, Egyptian, 102 

Enibroiilery, illustrated, 42 

Emijroidery, wash work, 38 

Empire, 88, 122 

Empire costume, 98 

Empire, 1st, 123 

Empire, 2d, 122 

Empire style, 87 

Enlarging, illustrated, 29 

Ert6, 42, 47, 54 

Ert6, illustrations, 44, 43 

Etching, 54, 60 

Fabric, classification. 90 

Fabric, documents, reference to, 131-133 

Faces, 16-18 

Fans. 116 

Feathers, reali tic treatment, illustrated, 47 

Feature cut illustrated, 50 

Feet, 19 

Fichu, 107 

Fifteenth century, 84, 85 

Fifteenth century dress. 111 

Fifteenth century dress, illustrated. 110 

Fifteent century reference books. 111 

Figure, 13-23 

Figured material, illustrated, 5 

First Empire, 123 

First Empire fashions illustrated, 120 

Flowered, material, illustrated, 5 

Flowered materials, 37 

Fontange headdress, 110 

Fontauge headilress, illustrated, 115 



Fontanges, Mile, de, f)7, 116 
Fourteenth century dress, 110 
Fifteenth century, reference books. 111 
Fourteenth and fifteenth century, dress illustrating, 

110 
Formal arrangement, illustrated, 94 
Forms, 1-3 
Forrester, Fern, 54 
Francis, 6 
Francis I, 95 

Francis I. King of France, 113 
Fragonard, 86 
Franks, 107 

Front view, form illustrated, 1, 2, 3, 4 
Fur, 38 

Furs, decorative illustrated, 45 
Furs, realistic method illustrated, 47 

Gainsborough, 86 

Gallic costume illustrate<l, 105 

Gallo-Roman co.stume illustrated, 105 

Gathers, 38 

Gathers, illustration, 5 

Gauls, costume, 105, 106 

Gauls, history and dress, 105, 106 

Gauls, reference books. lOG 

George I, George II, and George III, 117 

George III, 87 

George IV, 121 

Girdle, Greek, 103 

Globes, Egyptian, 102 

Gloves, 107 

Gold thread, use of, 95 

Golden Age, 103 

Gorget, illustrated, 83 

Gothic architecture, 84 

Gothic tapestry, illustrated, 84 

Greek Classic Period, 103 

Greek costume, 103, 104 

Greek costume, illustrated, 103, 104 

Greek Doric dress illustrated, 92 

Greek dress, 92 

Greek girdle, 103 

Greek history and dress, 103, 104 

Greek Influence, 91 

Greek Law, 0, 27, 28 

Greek Law, illustrated. 27 

Green. Ehzabeth Shippen, 16 

Green.away, Kate, 16, 87 

Greenaway, Kate, style illustrated. 87 



INDEX 



Page One Hundred Forty-one 



Hair. 18 

Hair, illustration, 18 

Half-tone, see Wash references. 

Handkcreliiefs, 107 

Hands, Froitti.ijiiccf. 8, 19 

Hands, illustration. 7. 18. 19. 20 

Harmonies, 62-03 

Harmonies of difference, 65 

Harmonies of likeness, 62 

Harmony, G5 

Hat, design illustrated, 75 

Hats, 6 

Hats, designing, 78, 79 

Hats, illustration. 8. 24. 79 

Hatton. Hicliard G.. Preface 

Head, 1.S, U 

Head, illustrated, 17 

Heads, 16, 17 

Heads, children, 16 

Hea<ldres.s. Fontange. 116 

Headdress. Fontanges, illustrated. 115 

Headdress, hennens. 110 

Headdress, horne<l. 83 

Heading, illustrated. 54 

Headings, 42 

Hem, illustrated, 27 

Hennin, headdress, illustrated, 110 

Hennins, 110 

Henry U. 97 

Henry VHI. 85 

Henry VHI, King of England. Ill 

Her.aldic forms, 95 

Hiniation, Greek. 93. 103 

Hisi)ano-Mores(|ue fal>rics, 95 

Historic costume, 101-123 

History and dress, Gauls, 105-106 

History and dress, Greek, 10,3-104 

History, Roman, 104 

History, 3d to 11th century, 106 

History, 11th century. 107-108 

History, 12th century, 108 

History. 13th and 14th centuries, 108-110 

History, 15th century, 110-111 

History, 10th century, 111-113 

History, 17th century, 114-116 

History, 18th century, 117 

Hogarth. 96 

Holbein. Hans, 85 

Holl)ein, Hans, illustration, 86 

Hollar, 86 



Homeric costume, 103 
Hoop, 117 
Horizontal lines, 65 
Houppelatide. 90. 110 
Houppelande. illustrated, 84, 110 
Hue, 61 

Imagination, 77 

" Impossibles," costume illustrated, 119 

" Ineroyables," costume illustrated, 119 

" Ineroyables," "unimagineables," " merverilleuses" 

and "impossibles," 121 
Indian lawns, 122 
Indian shawl, 98 
Individuality, 43, 45. 52 
Influences in design, 91 
Ink, 42 

Intensity, laws governing, 65 
Interregnum, 116 
Ionic chiton. 103 
Italian 14th century costume illustrated, 93 

Jabot. 110 

Jackets. 123 

Jacobean, 97 

James I, 86 

James I, King of England, 114 

James II, King of England, 116 

Japanese prints, 44, 47 

Jeanne d'Arc, 90 

Josephine, 121 

Jumping, illustrated, 22 

Kerchiefs, Egyptian, 102 

Lace, illustrated, 42 

Laces, 37-38 

La Valliere, Louise, 97 

Lawns, Indian, 122 

Lawrence, 86 

Laws for use of color, 65 

Lay-out, illustrated. 41 

Lay-out, finished, illustrated. 30-31, 35, 41, 47, 51 

Lay-outs, 29, 30 

Lay-outs, rough, illustrated, 29 

Leaping, illustrated, 22 

Legs, 14 

Lepape, George, 42, 54, 80 

Lettering, book on, 30 

Line cut, see Pen and ink references. 



Page One Hundred Forty -two 



INDEX 



lit! 



118 



119 



Lines, 45 

Lord, Harriet. 3-t 

Lotus, Egyptian, 102 

Louis Pliiiipi)e, 121. 122 

Louis Philippe costume illustrated. 121 

Louis XI, 95 

Louis XIII. King of France, 110 

Louis XIV, 117 

Louis XIV, King of France, 8G. 00. 07, 

Louis XIV costume illustrated, 115 

Louis XV, 87, 97, 98, 117 

Louis XV, costume illustrated, 117, 

Louis XVI, 87, 97, 98, 117, 120 

Louis XVI, costume illustrated, 118 

Louis XVI, period of, 98 

Louis XVIII, 121, 122 

Louis XVIII, costume illustrated, 121 

Lutz, E. G., Preface, 8 



Magazine, advertising, 57 

Magazine, advertising illustrated, 53 

Magazine, editorial. 50 

Magazine, editorial illustrated. 02 

Magazine, pattern drawing, 57 

Maintenon, Madame de, 97, 116 

Mantles, 118 

Margins, 6 

Marie Antionette, 87, 98 

Marie Antionette, strips, 98 

Marie Louise, 121 

Marshall, Preface 

Martial and Armand, 

IMaterials, black, 37 

Materials, color, 65, 70, 71 

Materials, for crayon jiencil work, 51 

Materials, wash. -18 

McQuin. 47. 54 

Medici, Catherine de. 97, 113 

Medicis, Marie, 1 13 

Memling, Hans, painting of, 95 

Meredith, Owen, 88 

" Marveilleuses,"costume illustrated, 119 

Method, catalogue wash method llustrated, 58 

Method, decoration illustrated, 44, 45 

Method of reproducing two colors. 08. 69 

Method, realistic illustrated. 39 

Method, realistic treatment illustrated, 40, 46 

Method, textile designing, 54-59 

Monochromatic harmony, 62 

Montespan, Madame de, 97, 116 



Monvel, Boutet de, 96, 111 
Mosaic. Byzantine. 6th century, 131 
Moyen age. 83 
Munsell, A. II., 61 

Museum. Cooper Union, Coptic designs, 92 
Museum, Metropolitan, as a source of design illus- 
trated, 76 
Museum, Metropolitan, Coptic room, 92 
Museum, Metropolitan, period dolls. 88 
Museum Metropolitan, tapestry from. 84 
Musketeer boots, 116 
Muslins. 122 
Mycenaean costume, 103 

Napoleon. 87, 98 

Napoleon Bonaparte, 121 

Napoleon. Louis. 122 

Napoleon III. 121, 122 

Nattier, 86 

Neilson, Kay, 42 

Neutralization, 65 

New empire. Egyptian. 101. 102 

Ninth and tenth centuries costume illustrated, 107 

Nineteenth century, 87, 88 

Ninteenth century dress, 121, 123 

Nocturne by Whistler as inspiration, 77 

Normal color, 61 

Ogival forms, 94 

Old Kingdom. Egyptian, 101 

One mofle harmony, 62 

Openings, 4 

Oriental characteristics. 97 

Oval, construction, 13, 14 

Paenula, Roman, 104 

Paintings, having bearing on costume. 131-133 

Paintings, having bearing on fabrics, 131-133 

Paisley shawl, 98 

Palla. Roman, 104 

Pauier, 117 

Paper, carbon, 32 

Paper, frisket, 32 

Paper, graphite, 32 

Paquin. 

Parasol, illustrated, 38 

Parsons. Frank Alvah, 30 

Parti-colored costume. 110 

Parti-colored costlmie illustrated, 109 

Parti -colored dress, 95 



INDEX 



Page One Hundred Forty-three 



Parti-colored dress ilhistraterl, 93 

Pattern drawing, magazine, 57 

Pattern drawing, newspaper, 39 

Pattern work, magazine illustrated. .50 

Pattern work, new.spaper illustrated, 48 

Pen and ink, 38-47 

Pen and ink, black detail work illustrated, 40 

Pen and ink, black material illustrated, 40 

Pen and ink. catalogues. 40 

Pen and ink, catalogue illustrated, Si 

Pen and nik, decorative, 40 

Pen and ink, decorative work illustrated, 53 

Pen and ink, illustrated, 46 

Pen and ink, magazine advertising illustrated, 53 

Pen and ink, magazine work, 39-47 

Pen and ink, pattern work illustrated, 40, 52 

Pen, ruling, 36 

Pens, 43 

Pencil crayon, 48 

Pencil, crayon, 50, 51 

Peplum, 116 

Period fabric design, 91-98 

Period, how influenced, silhouette, 83-88 

Periods in designing, 77, 78 

Periods, painting as references, 131-133 

Persian verdure, 96 

Personal characteristics, 75 

Personality, 79 

Pericles, age of, 103 

Perneb, 101 

Petit Trianon, 120 

Phrygean bonnet, 108 

Pilgrims, 80 

Plai.is, 37 

Plaids, illustrated, 41 

Plaids, shepherd, 37 

Plaids, shepherd's, illustrated, 42 

Pleating, illustrated, 5 

Plaits, box, 38 

Plaits, side, 38 

Pleats, Watteau, 118 

Poiret, Paul, 6 

Pompadour, Marchioness de, 87, 98, 117 

Pompadour stripes, 98 

Poor, Henry A., 30 

Pre-Hellenic costimie, 103 

Premet, 4 

Priests, 102 

Primaries, colors, 61 

Primitive design, 91 



Problem. 45 
Puritans, 86 

Quaker, 86 

Rael)urn, 86 

Red, crown, 102 

Reducing, illustrated, 29 

Reference books, Egyptian, 102 

Reference books, Gauls, 106 

Reference books, 3d to 11th century, 107 

Reference books, 11th century. 108 

Reference books, 12th century, 108 

Reference books, 13th, 14th, and 15th centuries. 111 

Reference books, 17th century, 116 

Reference books, 18th century, 116, 123 

Reference books, 19th century, 123 

Regency, 117 

Religious orders. 84 

Rembrandt, 79 

Renaissance, 85, 97 

Renaissance costume, late, illustrateil, 113, 114 

Renaissance, early, costume illustrated, 112 

Reproduction, two color proce.ss, 68, 69 

Republic, French, 122 

Restoration, 122 

Restoration, costume illustrated, 121 

Reta Sanger, illustrations. 13, 43, 62 

Revolution. French. 98, 120 

Reynolds. Sir Joshua, 86 

Rhythm, 65 

Richter, Pre/arc 

Roman costume, 104, 105 

Roman costume illustrateil. 104 

Roman costume reference books, 105, 106 

Roman dress, 93 

Roman history, 104 

Roman palla, 104 

Roman poenula, 104 . 

Roman toga, 104 

Roman tunic, 104 

Romantic period, 122 

Romantic period, costume illu.strated, 121 

Romney, 86 

Ross board, 31 

Ross board, illustrated, 33 

Royal gardens, 97 

Rubens. 80 

Ruff, 114 

Running, illustrated, 22 



^ 



Page One Hundred Forty-four 



INDEX 



Saint Catherine, betrothal of, 95 

Scale, in design, 79 

Scale of color, 61 

Scroll motif, illustrated, 94 

Sculpture, Greek and Roman, 131 

Second Empire costumes, illustrated, 12'2 

Senger, Reta, 13, 43. 54. 64 

Seventeenth century, 86 

Seventeenth century costmne illustrated, 114 

Seventeenth century dress, 116 

Shade, 61 

Shakers, 87 

Shawl, 122 

Shawl. Indian, 98 

Shawl, Paisley, 98 

Shawls, 123 

Shepherd kings, 101 

Shepherd plaid, 37 

Shoes, 19, 22 

Shoes, illustrated, 7, 18, 34, 35 

Side plaits, 38 

Significance, color, 66, 67 

Silhouette, 34-36 

Silhouette, fashion, 83 

Silhouette, half-tone, illustrated, 43 

Silhouette, illustrated, 36, 87 

Silhouette, period illustrated, 86 

Silhouette, value of, 83 

Silks, oriental, 122 

Silver print, 32 

Sixteenth century, 85-86 

Sixteenth century costume illustrated. 111. 112 

Sixteenth century costume reference books. 111 

Sixteenth century dress, 113, 114 

Sixteenth and seventeenth centuries, 97 

Sketch, dressmaker's, 9 

Sketch, manufacturer's, 9 

Sketching. 10 

Sketching, for manufacturer , 4 

Sketching, garment, -5 

Sketching, life, 7 

Sketching, memory, 4 

Slashed costumes, 113, 114 

Sleeves, 88 

Smith, Jessie Wilcox, 16 

Soulie, 54, 124 

Spatter work, 31,. 32 

Spatter work, illustrated, 33 

Split complementary harmony, 65 

Sport suit, 54 



Spotting, 53 

Squares, ruled, 32 

Standing illustrated, 22 

Steinmetz, 55 

Steinmetz, E. M. G., illustration, 56, 60 

Stipple, 34 

Stipple, illustrated. 34 

Stitcliing. ,38 

Stitching, illustration, 5 

Stock, 116 

Stockings, 110 

Straps, Egyptian hanging, 102 

Stripes, 37 

Stripes, illustiated. 5, 41 

Stripes, Marie Antoinette, 98 

Stripes, Pompadour, 98 

Surcot. 110 

Surcot, illustrated, 95, 109 

Swastika, 91 

Swipe collection, 36 

Swipe collection, illustrated, 37, 38 

Symbols, Egyptian. 102 

Syrian weavers. 93 

Tapestries, Gothic, 83, 84 

Theatrical illustration, 6 

Theory, color, 63 

Third to eleventh century dress. 106. 107 

Thirteenth and fourteenth century costume illus- 
trated, 109 

Thirteenth century dress, 110 

Thirteenth century reference books. 111 

Technique catalogue illustrated, 30, 31, 35, 41, 42, 
47, 51. 52, ,58 

Technique, color, 9 

Technique, crayon pencil, 50 

Technique, crayon pencil illustrated, 7, 59, 124 

Technique, decorating, 40 

Technique, decorative, illustrated, 44, 45, 53 

Technique, decorative half-tone illustrated, 56 

Technique, detail, 37-38 

Technique, detail, illustrated, 42 

Technique, mechanical, see Ben Day, Air Brush, 
Silver Print, Ross Board, etc. 

Technique, pattern pen and ink, 40 

Technique, pen and ink, 38-41 

Technique, pencil, 3 

Technique, realistic, illustrated, 35, 42, 47, 51 

Technique, silhouette. 34-37 

Technique, sketching, 3-10 



INDEX 



Page One Hundred Forty -five 



Technique, stipple, 3-1 

Technique, wash, ■t7-,30 

Tempera, sliow card culors, 71 

Tertiary colors, 61 

Textile designing, 54-57 

Textile designing, illustrated, 55 

Texture, of paper, S^i 

Textures, 37, 38 

Tint, 61 

Toga, Roman, 104 

Tone, 61 

Toothpick construction, 22 

Toothpick construction, applied, 23 

Torso, 14 

Tracing, 32 

Transferring, 32 

Transaction, period, 97 

Treatment, decorative, 38 

Triad Iwrmony, 65 

Triangular erection, 101 

Trianon, Petit, 120 

Trimmings, 37 

Trimmings, illustrated, 5 

Trunk motive, illustrated, 94 

Tucks, 38 

Tucks, illustration. 5 

Tulle, illustrated, 9 

Tunic, Roman, 104 

Twelfth century, costume illustrated, 109 

Twelfth century, dress, 108 

Underwear, illustrated, 52, 64 

Valliere, Mile, de la, 116 

Value, 62 

Value, color, 66 

Values, 52 

Vanderpoel, illustration, 20, 21 



Vanderpoel, J. H., Preface, 19 

Van Dyke, 86 

Valastjuez, 86 

Vertical lines, 75 

Vcrtugale, 113 

Vest, 116 

Victoria, 121 

Vignette, illustrated. 39 

Vulture, Egyptian, 102 

Waist, normal, 122 

Waistcoat, 116 

Walking, illustrated, 22 

Warm color, 61 

Wash, advertising, 47-48 

Wash, catalogue. 48 

Wash, decorative, 48, 50 

Wash, editorial, 47 

Wash, layout illustrated, 41 

Wash, materials, 48 

Wash, methods, 49-50 

Wash, pattern, 47 

Wash, pattern work, 48 

Wash, realistic, 48 

Wash, sketching, 48 

Wash work. 47-50 

Watteau, 86 

Watteau costume, illustrated, 117 

Watteau plait. 118 

Watteau styles. 120 

Weaving. 93 

Weeks, illustrated, 3 

White, Chinese, 37 

White, crown. 102 

William IV. 121 

William the Conqueror, 107 

Wimple, illustrated, 83 

Women, Egyptiau, 103 



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